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January 1957 


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January 1957 



In view of the film legislation now before Parliament we print in plB*©^ of our usual editorial 
an article which has special bearing on the steps needed to protect British Films 


THIS month and next will see 
both Houses of Parliament once 
again discussing the film industry, 
and in particular the renewal for 
another ten years of what is called 
the Quota Act. 

Why do we need a Quota Act to 
protect British Films? 

Surely, you may say, we have 
been making films long enough in 
Britain not to need Parliamentary 
permission to do so. 

Let us look back a few years — to 
1927 in fact, when the first Quota 
Act was introduced. At that time 
hardly any British films were being 
made at all. Hollywood had so 
captured the British cinema mar- 
ket during and following World 
War One that British films had 
practically disappeared from the 

A few brave souls kicked up 
such a fuss by public meetings and 
petitions to M.P.s that eventually 
Parliament was forced to take 
steps to ensure that some British 
films were made and marketed. 

This was done by imposing an 
obligation on all importers of 
foreign films to make a certain 
number of British films (Renters' 
Quota), and a similar obligation on 
all cinemas to show a definite 
percentage of British films on their 
screens (Exhibitors' Quota). 

" Quota Quickies " 

The Act succeeded in its main 
purpose. Films were made. Slowly 
the industry revived under the 
protection that had been given. It 
was also, of course, the era of the 
ill-famed "Quota Quickie" — a term 
of opprobrium used to describe a 
type of cheap film made solely to 
satisfy legal requirements. Such 
films were often put on the 
Renter's shelf immediately they 
were completed; others were in- 
flicted on the public who rightly 
resented such inferior entertain- 
ment and gained the impression 
that if it was British it was no 
good. That suited the Hollywood 
book very well. 

However, the Quota Quickie was 
largely eliminated ten years later 
when Parliament passed an amen- 
ded Act which imposed a minimum 


Ralph Bond 

labour cost on all films ranking 
for British Quota. Although cost 
can never be the arbiter of taste 
and quality. Renters who had to 
expend a reasonable amount of 
money soon found that it was 
better business in the long run to 
make good films. 

During World War Two, British 
films, after a shaky start, really 
came into their own, and roused 
the admiration of the whole world. 
Any lingering resentment on the 
part of cinema goers towards the 
home product rapidly disappeared, 
and for the first time our films 
took more money in our own 
cinemas than many Hollywood 

Wave of Optimism 

When the War ended, there was 
a wave of optimism for the future 
of British films, and in 1947 when 
the Quota Act once again came 
before Parliament for renewal, 
Renters' Quota was dropped, and 
the Act was confined to the obliga- 
tion of the exhibitors to screen a 
percentage of British films. 

Many who then supported the 
dropping of Renters' Quota have 
since questioned the wisdom of 
doing so, and in a further article 
we shall examine the arguments 
for and against this. 

The fact has to be faced, how- 
ever, that after all these years 
since 1927, Hollywood films still 
dominate our cinemas to the extent 
of seventy per cent. Without the 
protection of the Quota Act, it is 
most likely that the number of 
British films produced each year 
would rapidly decline. 

That is why the film legislation 
now before Parliament is so vital 
to every one of us who wants to 
see an expanding film industry. 

It looks as if the Government is 
trying to rush its legislation 
through Parliament without ade- 
quate opportunity for amendment, 
and many amendments are 
urgently needed to ensure that the 
Act works better for British films 
during the next ten years. 

Why on British Films? 

For instance, the conditions 
governing the definition of what is 
a British film need tightening up, 
to avoid a number of abuses which 
we all know have occurred recently, 
when films made abroad with 
scarcely any United Kingdom tech- 
nicians have nevertheless obtained 
their " British " Quota certificate. 

There is also the more funda- 
mental point which A.C.T.T. has 
raised. Why should the Quota be 
on British films. Surely it would 
be more logical to have a quota on 
foreign films, thus giving our own 
industry a chance to climb out of 
its semi-colonial status. 

So please, in your own interest, 
watch things very carefully and 
be prepared to see or write to your 
own M.P. and get him to support 
the changes that the film Trade 
Unions want. 

Your own job may be at stake. 



Editorial Office: 
2 Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Sq., W.C.I 

Telephone: HOLborn 4972 


January 1957 

A Technician's Notebook 


\ POLISH engineer, Jan Anto- 
^*- siewicz, has evolved what 
appears to be a novel solution to 
the problem of projecting films in 
a normally lit room. 

The conventional matt white 
screen scatters light in all direc- 
tions through an angle of 180°, 
which, though it enables spectators 
to view the picture on the screen 
from even the most acute angles, 
is wasteful of light diffusing it in 
all directions beyond the range of 
the audience. 

To make the picture visible on 
such a screen either the auditorium 
must be darkened, or the screen 

In his search for a solution 
Antosiewicz turned to the ordinary 
mirror which reflects light at the 
angle at which it strikes the mirror 
and without diffusing it. The plane 
mirror is obviously unsuitable for 
using as a cinema screen so it was 
the convex mirror that Antosiewicz 
used as the basis of his screen — 
millions of minute convex mirrors, 
each mirror measuring 0.54mm. by 
0.18mm., their rectangular shape 
ensuring the diffusion of light from 
them to the occupied space of the 
auditorium, but excluding the ceil- 
ing or the floor. It is claimed that 
the coefficient of brightness of the 
picture on the mirror screen is 
between twenty and thirty by com- 
parison with the white screen. 

The article from which the 
material above was taken, and 
which was kindly placed at our 
disposal by the Polish Cultural 
Institute, goes on to say that to 
prevent the reflection of any other 
surrounding objects in the screen, 
Antosiewicz used a " counter- 
screen ", a black cloth spread be- 
fore the screen at such an angle 
to the screen as to be visible from 
anywhere in the auditorium as a 
uniform black sheet. This prob- 
ably means, though the article 
does not make it clear, that the 
screen would have to be first of all 
set at a height and angle which 
would ensure that the audience 
itself does not produce reflections 
in it. 

The tiny reflectors are mass 
produced in pressed aluminium, 

from a die which consists of 
several thousand " negatives " of 
reflectors, arranged at regular in- 
tervals. The aluminium plates, 
impressed with the convex reflec- 
tors, are then glued on to a large 



sheet to make a screen of the 
required size. 

" From a practical standpoint 
the electronic recording of motion 
pictures is an accomplished fact " 
says Frederick Foster in an 
article in the American Cinema- 
tographer. He points out that no 
development relating to motion 
picture production has aroused 
greater interest than that which 
has to do with the electronic re- 
cording of the picture image. 
Though Bing Crosby Enterprises, 
followed by R.C.A., announced 
developments of such systems 
several years ago, no practical 
equipment has been put on the 
market by either company. 

In May Ampex, a manufacturer 
of magnetic recording equipment, 
demonstrated their Videotape re- 
corder, a complete record and 
playback unit capable of recording 
and reproducing commercial mono- 
chrome TV material. The machine 
was designed specifically for the 
purpose of television programme 
delay, and Ampex have said that 
it will be first employed for this 
purpose only. 

Addressing the convention of the 
SMPTE in New York and referring 
to speculations about the use of 
Videotape equipment for producing 
motion pictures, R. H. Snyder of 
Ampex said, " Any speculation on 
the replacement of the 35mm. 
camera by Videotape is, in our 
belief, foolish at this time." He 
thought that a director might 
shoot simultaneously on film and 
tape, using the tape as an imme- 

diate pictorial playback. Videotape 
picture quality was not comparable 
with ordinarily good original film 
and not even remotely comparable 
with the newer large negative 

The Ampex system records both 
picture and sound on a single two- 
inch wide tape. Picture quality is 
.'aid to be considerably better than 
that obtained with current kine- 
scope techniques. 

The recorder works on the same 
principles as are used in a stan- 
dard sound tape recorder. But to 
obtain the 4-megacycle response 
needed for picture recording the 
tape speed would have to be 2,000 
inches a second; at that speed a 
reel of tape 14 inches in diameter 
would run for only 29 seconds. 

Ampex have developed a system 
which works at a tape speed of 
15 inches per second, by using a 
magnetic head assembly of 4 heads 
mounted on a drum which rotates 
at a high speed recording trans- 
versely across the tape instead of 
longitudinally. This gives an effec- 
tive tape speed sufficient to record 
and reproduce the 4-megacycle 
band width. 

The sound is recorded normally 
along one edge of the magnetic 

Thrillarama is the latest devel- 
opment of wide screen procedure. 
According to limited information 
available at this time the salient 
facts are : 

The photographic system, using 
two cameras side by side with an 
interlocking device, registers scenes 
on separate 35mm. negatives, 
using full aperture on both. Later 
the two films are synchronised for 
showing on a theatre screen at a 
ratio of approximately 31. to one. 
It is claimed that both close-ups 
and long shots are photographed 
without distortion in presentation. 
Sound track is on a separate reel. 

The cameras were made in 
France, but the photographic 
system was designed, engineered 
and built by Raphael G. Wolff 
Studios in Hollywood. 

January 1957 


In shooting, the left camera 
photographs the right side of the 
action, and the right camera photo- 
graphs the left side. In projection, 
the reels are cross-beamed on to 
the screen. 

May and Baker announce the in- 
troduction of a new 2 J oz. pack of 
' AMFIX ', the ultra-rapid liquid 
fixer. Intended for those who may 
require a small expendable con- 
tainer, the new pack is made of 
plastic and is similar in appearance 
to the sachets used for certain 
brands of shampoo. Price of the 
21 oz. " Empak " of ' Amfix ' is 

From the Fountain Press we 
have received Numbers 11 and 12 
in the Cinefacts series; they are 
" Tricks with Movies ", by Denys 
Davis, and " Processing Amateur 
Movies ", by R. H. Bomback. They 
are practical and clearly written 
little books aimed at the amateur, 
and selling for the very modest 
price these days of half-a-crown 
each. " Tricks with Movies " des- 
cribes in a straightforward way, 
with diagrams, how the amateur 
can produce the trick effects that 
lie within the scope of his appara- 
tus; e.g., fades and dissolves, slow 
and speeded-up motion, animation, 
superimposition, making and using 
a simple matte box, etc. The pro- 
fessional also might pick up an 
idea or two. Did you know that 
four spoonfuls of Epsom salts 
mixed with half a glass of beer 
and painted on the windows of 
your room will give you a realistic 
hoar frost effect? 

The purpose of " Processing 
Amateur Movies ", as the author 
points out, is firstly to explain the 
mechanism of both negative and 
reversal processing, and, secondly, 
to show how the amateur may, 
with suitable equipment, undertake 
such simple operations as title 
development and after treatment 
of finished films. It does NOT en- 
courage the amateur to set up his 
own processing laboratory. The 
photographic illustrations are good, 
and all the main processing 
formulae are given at the end of 
the book. 


The index for the Cine Techni- 
cian for 1956 will be published as 
a supplement to the February 

Book Review 


" LAND OF BLUE SKY ", by Ivor 
Montagu. (Dobson, 25/-). 

On Wednesday Ivor Montagu 
will be at an Executive Committee 
or General Council meeting, the 
next he may well be the other side 
of the world bent upon one of his 
many specialities from peace to 
table-tennis. So no great surprise 
was caused by his announcement 
that he was off to spend a holiday 
in the Gobi Desert. But as lazing 
is not Ivor's idea of a holiday, he 
finished up with material for 
" Land of Blue Sky ", a portrait 
of modern Mongolia. 

Those acquainted with Ivor's 
style will find this book true to 
form. Just as in a written report 
of, say, a Conference he has 
attended, nothing either important 
or trivial is omitted. He bursts 
with information, filling in the 
extras with copious parentheses, 
footnotes and appendices, resulting 
in his inimitable style — compre- 
hensive, meaty, apparently shape- 
less but supremely intriguing. You 
feel that not a single word which 
could be said remains unsaid. 

I read " Land of Blue Sky " 
during the height of the Hungarian 
revolt and the first thought which 
occurred to me was, whether one 
calls Mongolia a dependency or ally 
of the Soviet Union — a current 
argument within the United 
Nations — the two countries have 
managed their affairs with each 
other in a way which could well 

be a model elsewhere. There are 
no Soviet troops in Mongolia, the 
only Russians there are experts 
filling special needs, such as 
doctors. The relationship, econo- 
mic and otherwise, is based on a 
practical basis and, as a result, a 
proud independent people as the 
Mongols are, have a mutually 
satisfactory and friendly modus 
vivendi with their big Russian 

But " Land of Blue Sky " is as 
much a travel book as anything 
else. Few Western visitors have 
been to Mongolia and indeed Ivor's 
wife is only the second English 
woman visitor ever. For me, per- 
haps because I was more in the 
mood for bright hospital reading, 
the appeal of the book was its 
fascinating portrayal of the 
Mongols and their country from 
thirty-five years ago, when they 
were a million-strong nomad race 
roaming over 600,000 square miles, 
up to today, when in a most rapid 
transformation they have de- 
veloped into a country attuned to 
and helping create the benefits, if 
that is the right word, of modern 
industrial progress. 

I am sure that most readers of 
" Land of Blue Sky " will wish on 
putting the book down that an 
opportunity would present itself to 
visit Mongolia to learn more about 
this exotic land and its hospitable 
people. If that be so, the book can 
need no better recommendation. 


A.C.T. Films 9 New Production 

Following the completion of 
Suspended Alibi for J.A.R.F.I.D., 
A.C.T. Films has gone into pro- 
duction with another subject for 
British Lion. 

This time it is a comedy titled 
Second Fiddle, and it went on the 
floor at Shepperton on January 
14th, with Bob Dunbar producing 
and Maurice Elvey directing. 

The stars are Adrienne Corri, 
Thorley Walters and Lisa Gastoni. 
Arthur Graham is lighting, with 

Howard Connell as Production 

Second Fiddle is an original 
story, set in an advertising office, 
and raises, among other things, the 
right of married women to work 
and receive equal pay ! 


The new A.C.T.T. badges and 
brooches can be obtained from 
Head Office. Badges 2/-, brooches 
2/4, post free. 


January 1957 


This article expresses the personal 
opinion of the writer, which differs 
considi rably from the standpoint 
officially taken on the subject by 
A.C.T.T. We print it because we 
h,liin that Film and TV Techni- 
cian should be a forum for con- 
troversy as well as a vehicle for 
conveying official news and views. 
The Editor will be glad to hear 
what readers think about this con- 
1 1 m ( rsial subject. 

A recent A.C.T.T. press state- 
ment on the I.T.A. Government 
grant, in which the quality of pro- 
grammes was criticised, has led to 
the impression in some quarters 
that A.C.T.T. was accusing the 
commercial TV companies of pro- 
ducing worthless and trivial pro- 
grammes. This has stirred up con- 
siderable controversy, both as to 
the correctness of the implied 
criticism and as to whether even 
if it were true it was expedient for 
the Union to express it. 

At the TV Producer-Directors' 
Section meeting on December 21st 
this subject was given a rather 
warm airing. Opinions seemed to 
be divided as to just how trivial 
the programmes were and how 
far the B.B.C. had sunk in com- 
petitive pursuit of the mass 

Comparative estimates of the 
cultural value of Jungh Jim as 
against Ask Pickles, or the relative 
value of Fabian of the Yard and 
Dragnet are entertaining but 
rarely instructive. One point of 
view which so far does not seem 
to have been expressed — and one 
that in the writer's estimation 
could be considered — is that such 
matters might be said to be out- 
side the province of trade unionism. 

It is widely held that a Trad.' 
Union exists for one purpose only 
— to ensure fair working conditions 
for its members. Should these con- 
ditions be affected by the actual 
work produced then it is un- 
doubtedly right for the union to 
consider this "end product". But 
not otherwise. The union acting 
for the makers of those hideous 
plaster doggies would scarcely 
venture to criticise them from an 

artistic point of view. If the plastei 
is difficult or dangerous to work, 
that is another matter. But surely 
the individual trade unionist 
should restrict his artistic judg- 


Vivian Milroy 

ment to refusing to buy the 
doggies once they are made? 

And surely the same rule should 
apply in the entertainment busi- 
ness. Take those popular weekly 
panel shows " Do you trust your 
kids " and " Take your pick of 
your wife's money ". If the work 
of the technicians involved is 
more dangerous than Panorama or 
more arduous than The Brains 
Trust no one would deny the 
Union's right to express an official 
opinion. But can it really do so if 
the working conditions are more or 
less the same — or at anv rate are 

unaffected by the artistic content 
of the programme? A camera- 
man's job on The Tempest is not 
fundamentally different from his 
colleagues on Noddy. In fact, from 
a trade union point of view a bad 
programme employing a lot of 
technicians is better than a good 
programme employing only a few. 

To suggest that it is not part of 
a trade union's province to criticise 
the artistic standard of its mem- 
bers' output is not to say that the 
individual members should not do 
so. We are all citizens as well as 
trade unionists; viewers as well as 
technicians. And if the standard 
of some programmes is thought to 
be inclining slightly towards a new 
low of footling and futile inanity 
the weapons of a free democracy 
are there for the using. He can 
write to the newspapers and in- 
flame public opinion; he can per- 
suade his M.P. to raise the matter 
in Parliament; he can bombard the 
guilty organisation with letters; 
and he can even — if he gives 
twenty-four hours' notice to the 
Metropolitan Police — march an 
army of like-thinking democrats 
from Golden Square to Kingsway 
by way of Wardour Street waving 
insulting banners and shouting 
rude words. But if after all this 
he is offered a job on that same 
" Take your pick of your wife's 
money ", as a good trade unionist 
no one will blame him for accept- 
ing it or even for liking it. It is 
strange how differently it can 
appear from the inside. 


The laboratories meeting, reported in our last issue, 
VOtea for the new agreement 

I Picture bj Chi istophei 

January 1957 


seems to consist of a large ruby 
and several tatters of silk. Con- 
cerning the suitability of this Mr. 
Irving Allen is reputed to have 
said : " What nature has given, 
who are Warwick to take away?" 
A random survey taken in War- 
dour Street shows a majority 
opinion for Miss Ekberg in the 
House of Lords and Lord Lucas 
in films. 

inth Bar oo Marx 
as Sir Isaac New- 
ton . . . 

FOR our Basic and Countryman 
Shop the struggle for more in- 
telligent, higher quality films is 
unending, but their battle against 
" monster movie " mentality must 
have suffered an early reverse in 
1957, judging by a recent an- 
nouncement from Warner Brothers. 

At their Hollywood Studios 
Warners are 
making The Story 
of Mankind. To 
prove that ambi- 
tion, at least, is 
not dead, the 
period covered in 
this epic ranges 
from the Neoli- 
thic Age to the 
present day. Its 
cast includes 
Ronald Colman as 
The Spirit of Man, 
Edward Everett 
Horton as Sir 
Walter Raleigh 
and, to crown it 
all, Harpo Marx 
as Sir Isaac New- 
ton. Peter Lorre 
and Cesar Romero 
are also cast but no parts men- 
tioned. An imagination fevered by 
the foregoing details suggests 
Gilbert and Sullivan. 

Wolves ? 

A statement with which many 
members will sympathise comes 
from Miss Barbara Woolworth, 
one of the fabulous Woolworth 
family, in an interview with Daily 
Express critic David Lewin. Miss 
Woolworth, head of the company 
which made Silken Affair, said : 
" I know there are a lot of dragons, 
or wolves as you call them, around 
in the film business. But I think 
I can handle them." 

Communist Inspired? 

Says Mr. Mike Todd, producer 
of Round the World in Eighty 
Days, of his film's distribution : 
" I will ban the sale of popcorn 
... it will be the first non-popcorn 
picture in America. I have nothing 
against popcorn — I am not un- 

American about popcorn. It just 
isn't a popcorn picture." 

Location Tip 

There's always a tough battle to 
raise the location allowance from 
the basic five guineas. It's prob- 
ably an occupational reflex of 
many producers to cross their 
hearts and swear that this sum 
will more than cover members' 
expenses in this or that country. 

In this connection an intriguing 
comment comes from a hotel guide 
given to me by a member recently 
back from a West Indies location. 
The document describes the shuffle- 
board, aquaplane and water-skiing 
facilities and has a somewhat 
vague reference to the Social 
Hostess who will be glad to make 
your holiday pleasant and enjoy- 

For those at work and on a 
location allowance the most telling 
item is " Tips on Tipping ". The 
suggestions range from 15s. per 
week for the bedroom maid to 35s. 
for the waiters. One and ninepence 
per bag is the appropriate for bell- 
men. For the 
rest — "A small 
token tip is al- 
ways acceptable " 
to the Head 
Waiter and Cap- 
tains. At this 
level it seems un- 
likely that any 
roughnecks could 
sneak through the 
gilded doors, but 
a severe note is 
struck to avoid " smaU token 
this eventuality. 
" On Thursday and Saturday even- 
ings formal dress is requested for 
dinner. Men's jackets and ties 
must be worn after 6 p.m." 

Ekberg or Bust? 

Warwick Films have been earn- 
ing themselves some free and, 
presumably, welcome publicity in 
the House of Lords. Protesting at 
the advertising posters used for 
Zarak, Lord Lucas referred par- 
ticularly to a tantalising portrait of 
Miss Ekberg, in which her costume 

By Wire . . . 

Here is some news from Holly- 
wood that may interest our far- 
from-overpaid members in Nas- 
creno House. National Screen Ser- 
vice is an associate of a company 
of the same name in the U.S.A., 
and negotiations for a two year 
agreement have just been com- 
pleted over there. The new agree- 
ment gives an additional $1,560 per 
year to the lowest paid, and $1,040 
to those on the maximum. The 
lowest-paid scriptwriters get $330 
a week, the highest $350 — or 
roughly £125 per week. It is worth 
noting that quite a few technicians 
working for N.S.S. here don't even 
get the rate equivalent to the 
raise given to the lowest-paid in 
the U.S. True, straight exchange 
values don't tell the full story — but 
it looks to me as if National Screen 
coffers could be opened on this 
side of the Atlantic as well. 



Cinema attendances during the 
third quarter of 1956 totalled 293 
million, nearly 2 per cent above the 
corresponding quarter of 1955, and 
gross takings were 11 per cent up 
at £28,576,000, the Board of Trade 
announced recently. 

"The bad weather in the summer 
no doubt contributed to this in- 
crease, which reversed the down- 
ward trend of attendances for the 
first time since the similarly poor 
weather of summer 1954," the 
report says. 

Of the 47 cinemas closed during 
the third quarter most had between 
251 and 750 seats. Nearly all 
regions were affected, the north- 
western region most of all. 


January 1957 


I WENT to China together with 
Lennox Robinson, the Irish play- 
wright, as the guest of the Actors 
and Actresses Association and the 
Writers' Association, to speak at 
the Bernard Shaw Centenary cele- 
brations at Peking and Shanghai. 
Inevitably we saw a good deal of 
the theatre and I was also afforded 
the opportunity of visiting all their 
film studios, watching them at 
work and meeting most of their 
artists and directors. 

Only Three Studios 

There are at the moment only 
three film studios in all China. Of 
these the biggest is at Chiang- 
chun, about seven hundred miles to 
the north-east of Peking, in the 
heart of what used to be Man- 
churia, but is now called the North 
East Province. Here, tucked under 
the wing of Soviet Russia, are all 
the major industries — coal mining, 
iron and steel foundries, one auto- 

are on the payroll all the year 
round as employees and are given 
two weeks holiday with pay every 
year and a pension scheme which 

Entrance to Studio 

mobile factory turning out their 
first tractors. 1 have read in the 
press here that these factories 
have been placed here so close to 
Russia for security and protection. 
But this is nonsense, for the coal 
and iron are found in this part of 
the country, and the Japanese had 
already laid the foundations of 
these industries, including films, 
before the present government 
took over. 

The second largest film studio is 
at Shanghai, and the third at 
Peking. At each one of these three 
there is a stock repertory com- 
pany of actors and actresses who 


R. J. Minney 

provides for their retirement. They 
are given accommodation near the 
studio in blocks of buildings where 
they have either a small flat for 

Lighting in Peking 

themselves and their families or 
just a room to live in. I have 
visited a number of these homes 
and found them most comfortable, 
if a little restricted. 

There are excellent reading 
rooms in a central block, as well 
as facilities for table tennis and 
other indoor games. In the grounds 
there is basket ball, a current 
craze with the Chinese, swimming 
in some cases, and other forms of 
open-air sport. At every studio 
there are nurseries for children, 
rest houses for the artists, and 
sanatoria. Their health and welfare 
are well looked after. 

The studio at Chiang-chun is a 
large modern block, very Western 
in its style of architecture, un- 
relieved here by a Chinese super- 
structure, with turned up ends, 
placed cither at the corners of th< 
building or above the central en- 
trance, such as they have on most 

of their other modern buildings, 
whether Government offices or fac- 

There are six stages here, one 
of them fairly large, but only 
about a third the size of the big 
stage at MGM at Elstree; the 
other five are of medium size, 
approximating to the old Stage 
Three at Gainsborough Studio at 
Lime Grove, where so many of us 
worked before they were taken 
over for television. 

They use papier mache a great 
deal. It seems to take the place of 
plaster. The walls are papier- 
mached, with struts of bamboo at 
the back for strengthening and 
support; all the decorations, coats 
of arms, statuettes, crowns and 
coronets are made of it, and most 
cleverly painted. They are in con- 
sequence very light and easy to 
move about. 

Old Mitchells 

All the cameras are old Mitchells. 
some of them tied up with bits of 
string. We went through that our- 
selves during the war and our 
films were none the worse for it. 
Here, too, they seem to make-do ex- 
tremely efficiently. All the gantne.- 
are made of wooden scaffolding, 
with wooden steps and galleries. 
The dolly rails are of wood too. 
The cameras appeared to move 
smoothly, but I noticed that they 
had to be most carefully manipula- 
ted. A further complication was 
that the studio floor was very 
uneven and the rails had to be laid 
with pads here and there to get 
them straight. 

The atmosphere behind the 
scenes was exactly as here. They 
allocated approximately the same 
number of technicians for camera, 
sound, etc. as are required I 
for crews, and I discovered that :n 
the higher grades the technicians 
are far better paid than the actors 
and actresses. 


When we come to wages we 
must remember that the standard 
of living is a great deal lower in 
China than it Is here. The average 
minimum earnings in that countrv. 

January 1957 


taking industry as a whole, and in- 
cluding the earnings of the agri- 
cultural workers, is about £2 a 
week. They manage to live pretty 
well on it, for prices are not high. 
The cost of living is, in fact, ex- 
ceedingly low. The consumer goods 
I saw in the shops cost far less 
than they do over here. A pair of 
cotton trousers, for example, is 
only fifteen shillings for the best, 
and the rent for a one-roomed flat, 
with a small kitchen and lavatory, 
is only nine pence a week. 

At the studios the bottom wage 
for artists was £2. 10s. a week. The 
top grade performers get £7 to £8 

a week. The technicians start 
higher and rise higher. 

There are no stars at all. The 
star system is not operated there. 
Before I learned of this, when I 
asked who the stars were, they 
looked at me in wonder. They had 
no idea what I was talking about. 
They asked me to explain. I men- 
tioned Marilyn Monrose, but there 
was not the slightest show of 
recognition from the group of 
directors and technicians around 

" Who is Marilyn Monroe?" 

In a moment I got the question 
that you would only expect to get 
from a judge in the law courts in 
England. " Who is Marilyn Mon- 
roe?" one of them asked. Now 
you who haven't been asked it 
might think it is the easiest thing 
in the world to answer. But try 
answering it to a group of Chinese 
film men through an interpreter, 
without even a photograph of the 
girl to help you! Not that the 

picture would have helped much. 
Their standards are different and 
the shapes are different. Busts, for 
instance, are out. I suppose I 
should say bust are in — well in, for 
the dresses reveal no cleavage and 
the chests are dressed as flat as 
they can be. The girls look none 
the less attractive for that. 

No Comparative Standards 

The Chinese now have no com- 
parative standards in films, either 
technically or otherwise, for they 
don't get very much from the 
West. Hamlet was the last British 
film they got and they will still in 
raptures over it when they talked 
to me. They were expecting to get 
shortly Great Expectations, and 
were looking forward eagerly to 
seeing it. "Can't you get your people 
to send us more films?" they asked. 
" We would welcome it." I passed 
this on to the Rank Organisation 
on my return and I hope something 
comes of it. Other film companies 
should also take note. 

Their sets are very realistic. One 
film I saw being made was set in 
a coal mine. It was as good as any 
we have built on the set here. 
Their backcloths I thought not 
quite as good as ours. But their 

and others for musical films — for 
as long as twelve years. 

At Chiang-chun the resident 
repertory company of film actors 
and actresses numbered 143 mem- 
bers. Occasionally, especially when 
they are making the film version 
of a stage play, they borrow one 
or two of the stage cast; but for 
the most part they prefer to rely 
on their own resources because, in 
the case of this studio particularly, 
the theatre in Peking is many hun- 
dreds of miles away. 

The Shanghai studio, on the 
other hand, relies on the theatre 
not only for players but for its 
directors. They flit from one to 
the other. It is quite common there 
for a stage director when he moves 
to the studio to take many of his 
stage artists with him. 

Much Longer to Make 

At Chiang-chun all the stages 
were being used for feature films, 
each running, as ours, for approxi- 
mately ninety minutes. But the 
films take much longer than ours 
to make. I was told that the aver- 
age time for making a feature film 
is from six to eight months, for 
studio shooting alone. They are 
aware that this is inordinately long 

standard of acting is very high. 
It ought to be. Attached to every 
studio is a school for acting. The 
pupils begin young and are kept at 
it for years, some of them — as in 
the case of Peking opera trainees 

and are trying to cut down on 
time. " We are making twelve 
films this year, which will give us 
an average of six months a piece 

(Continued on page 10) 



January 1957 

on the six stages. We are aiming 
to double this and eventually to 
step the figure up to thirty films 
a year— before very long," they 
told me. 

tures, running time about ten 
minutes. I saw some of these. 
They were, in the main, comedies 
based on traditional stories. 

In Shanghai the studio has six 


chiefly screen presentations of the 
traditional Peking operas. It is 
these operas that are usually done 
in full colour and very good the 
colour is too, for they use Agfa 
colour, which is obtained from the 
Soviet Union. 

Attached to each of these studios 
there are training schools for tech- 
nicians, a big scenario department, 
a panel of script readers, and 
groups of welfare workers to keep 
a close and watchful eye on work- 
ing conditions. 

Plans were ready while I was in 
China for the building of five fur- 
ther studios — at Canton, Chung- 
king, Kunming, Sian and Urumchi. 
Two of these will be in operation 
this year. The Chinese are very 
fond of films. There are large, 
modern, well-equipped cinemas in 
all the towns with swarms of 
people going in all the time. The 
finished product from these studios 
is good; in many instances I found 
the standard very high. With the 
great fillip being given to film pro- 
duction it would not surprise me 
if the Chinese film industry cap- 
tured before long the entire film 
market in Asia. 

They have two theatres at 
Chiang-chun. Both were being 
used for dubbing when I was there. 
They dub about eighty imported 
films each year. Most of these are 
from Czechoslovakia and Poland. 
Only a handful come in from 
France and Italy, and occasionally 
there is one from Japan, for the 
restriction that keeps the Ameri- 
cans from sending in their films 
applies apparently to some extent 
to Japanese films too. 

Four Small Stages 

The Peking studio, which has only 
four small stages, does not take 
quite as long to make films. The 
average time there is much nearer 
our own and approximates to 
about thirteen weeks for a feature 
length picture. The working hours 
here, as at the other studios, is 
from 8 a.m. to 12 noon, then two 
hours off, and from 2 o'clock until 
five — a seven-hour day. On Satur- 
days they finish at four and work 
only six hours, making a total of 
forty-one hours per week, for Sun- 
day is a holiday. There are two 
additional studios in Peking — one 
for Newsreels and the other for 
Documentaries. At the latter they 
make their comedy cartoon pic- 

stages, as at Chiang-chun, but the 
stages are somewhat smaller. Both 
here and in Peking they have made 
films in colour, but at their chief 
studio they were only just pre- 
paring to make their first colour 

Their feature films are of two 
types — straight dramas or come- 
dies (and the Chinese have a rich 
sense of humour, very akin to our 
own)- and musicals, which are 


The cover still and pictures on 
pages 9 and 10 are shots from a 
film being made during R. J. 
Minnev's visit to China. 

January 1957 




T^HROUGH my letter-box at this 
*- time of year comes an abun- 
dance of brochures advertising 
wonderful holidays in foreign 
countries, and I love to spend 
hours studying them, because 
foreign travel has always inter- 
ested me. Just recently, though, 
I received some brochures about 
some foreign film industries and 
these have held me fascinated in 
much the same way. They came 
from Japan and Italy. 

Two arrived from Japan, and 
they make interesting contrasts, 
because the larger, glossier one is 
from the Motion Picture Associa- 
tion of Japan, which represents 
five of the six major film com- 
panies, and the smaller one — dup- 
licated on cheap paper — was sent 
out by one of the smaller indepen- 
dent producers, Dokuritsu Eiga 


A while ago I reported that the 
Japanese colour processes were 
being pushed out of their own 
home market by the American 
Eastmancolour process. Startling 
confirmation of this Americanisa- 
tion of the Japanese film business 
is seen in the films made by the 
five major companies in 1956. 
From the figures they give, it 
appears that these producers make 
over 300 features a year, and they 
give details of the thirty best ones 
of 1956 (which probably includes 
all those made in colour). Eleven 
of the best features were in East- 
mancolour, and one, Madame 
Butterfly, an Italian-Japanese co- 
production, was made in Techni- 
color. Not one was listed in 
Fujicolour or Koni-colour, the 
Japanese colour processes. The 
same is true of the short films 
listed in the year's production. 

Far more adventurous is the in- 
dependent Dokuritsu Co., which 
has made its first children's film 
in Koni-colour, a six-reeler of the 
fairy-tale by Samuel Marshak, the 
noted Soviet author, called Twelve 
Months, which scored a great hit 
on the stage with Tokyo's children. 

The big Japanese producers give 
an interesting short history of 
their country's film industry — since 
1897, when the first film was shown 
there, to the present day. An in- 
teresting aftermath of Fascism is 
their mistrust of Government in- 

tervention in the film industry; 
these sober business men say that 
Government control of production 
and film censorship prior to 1945 
obstructed the growth of the 
Japanese industry, and they refer 


Christopher Brunei 

to the present state of affairs, 
under which Government interven- 
tion is all but ended, as " the Fifth 
Freedom — Freedom of the Screen." 

Turning to a booklet from Italy, 
" The Situation and the Problems 
of Public Entertainments in Italy," 

Twelve Months 

published by Lo Spettacolo, I find 
the same mistrust of the Govern- 
ment taking a hand in the affairs 
of the film industry. The writer, 
Antonio Ciampi, is very scornful 
of a proposal to help film produc- 
tion by a Treasury rebate scheme, 
which appears to have similarities 
with our own most helpful Eady 
Scheme. The reason he rejects 
State aid is an historical one, too; 

under Italian Fascism there were 
a number of taxes levied for defi- 
nite purposes, such as lighting the 
streets, poor relief and for the un- 
employed, and these were much 
resented by the Italian people. 
Therefore, he argues, if Entertain- 
ment Tax were used to assist 
Italian film production it would be 
transforming the tax into one of 
the hated, obsolete taxes. 

Strange as this may sound to us. 
it is a point of view that evidently 
arises from the Italians' experien- 
ces, and as such ought to be 

Unlike Britain, Italian cinema- 
going is on the increase, though 
they have their own crisis in pro- 
duction. Something that we both 
have in common is the difficulty in 
conquering foreign markets, par- 
ticularly the American. The book- 
let was written before the impor- 
tant agreement between the Bri- 
tish Film Producers' Association 
and the Italian Producers was 
concluded, and so the system of 
especially favourable relations be- 
tween two nations is not men- 
tioned. Briefly, this is a method 
of trading, whereby two countries 
agree to grant each other conces- 
sions — in the case of Britain and 
Italy, Italy grants British films 
concessions over the " Dubbing 
Tax " and Britain guarantees cir- 
cuit bookings to a number of 
Italian pictures. 

It is a means of gently easing 
out the Americans from their 
dominant position in both coun- 
tries — and, naturally, the Ameri- 
cans have protested vigorously 
against the deals that the B.F.P.A. 
has been making with Italy and 
France along these lines. 

It seems to me that, while not 
imitating the methods such film- 
producing countries as Japan and 
Italy adopt to help their native 
industries, we should learn to 
understand their methods to see if 
there are ways in which we can 
co-operate to our mutual benefit. 




MARCH 9th & 10th, 1957 


General Council in Session 

January 1957 


THE main items considered this 
-*- month were the 24th Annual 
Report, which will go to all mem- 
bers for the annual general meet- 
ing on March 9 and 10, 1957, and 
the tabling of amendments to re- 
solutions that had been submitted 
by Shops and Sections. 

Owing to the shortage of time 
left, only one item of the Execu- 
tive's report to the meeting was 
considered, namely the endorse- 
ment of proposals for increases in 
salaries of Head Office staff. 

It was, therefore, agreed to give 
the Executive authority to proceed 
on the basis of its report on all 
other matters in the report; some 
of the main items covered are 
given below. 


The Executive were advised of the 
meeting with representatives of 
the Parliamentary Labour Party 

Films Committee, and the Acting 
General Secretary stated that all 
the other Unions responsible for 
the Trade Union Policy Pamphlet 
had been informed of A.C.T.T.'s 
action and a letter had been re- 
ceived from the E.T.U. indicating 
their agreement with the action 
taken and expressing appreciation 
at having been kept informed. The 
Executive authorised the Legis- 
lation Committee to continue the 
highest level pressure, utilising all 
necessary means which should in- 
clude personal contacts with one 
or two of the M.P.s who have 
always been friendly to A.C.T.T. 
in addition to the Films Committee 
of the Parliamentary Labour 
Party. The Executive to be kept 
informed of developments. 

PANIES: The Shorts Committee 
has been very concerned with TV 
companies who are undercutting, 

so prejudicing reputable units from 
getting contracts, and it appeared 
that the A.S.F.P. were also in- 
terested in this matter. It was 
recommended to the Executive: 

1. That a letter be sent to the 
Advertising Agencies remind- 
ing them of our agreement 
and of the importance of 
maintaining standards of 

2. That we should seek a meet- 
ing with the A.S.F.P. with 
the following points in mind: 

(a) Agencies should be re- 
quired to disclose to the 
contractor the name of 
the production company. 

(b) A quota on foreign 

(c) Joint representations to 
the Programme Con- 

{continued on page 1 3) 




Excellent Prospects 

Please apply by letter to: 
Studio Manager 



GERrard 7681-2-3 

W. I 


January 1957 

Guide to British Film Makers 


Year of Production: 1955. 

Studio: M.G.M. Elstree. 

Laboratory: Technicolor Ltd. 

Producing Company : Coronado Produc- 
tions (England) Ltd. 

Producer: John R. Sloan. 

Stars: Pier Angeli, Phil Carey, Dennis 
Price, James Hayter. 

Director: Rude Mate. 

Camera Department: Lighting Camera- 
man, Wilkie Cooper: Camera Opera- 
tor, Gus Drisse; 1st Camera Assistant 
(Focus), Mike Wilson: Other Camera 
Assistant, Mark Hyams; 2nd Camera 
Operators, Ian Struthers, Peter All- 

Sound Department: Recordist (Mixer). 
Sash Fisher: Sound Camera Operator, 
Harold Clark: Boom Operator, John 
Streeter; Other Assistants (Main- 
tenance), Michael Basselt ; Dubbing 
Crew, J. B. Smith, W. Carr, C. Jones. 
J. Bramall. 

Art Department: Art Director, Wilfred 
Shingleton ; Assistant Art Director, 
John Hoesli: Draughtsman, Kenneth 
Tate; Dress Designer, Julia Squire. 

Editing Department ; Editor. Ray Poul- 
ton; Assembly Cutter and 1st Assis- 
tant, Valerie Leslie; Other Assistant. 
Peter Keen; Dubbing Editor, Winston 

Production Department: Production 
Manager and/or Unit Production 
Manager, R. L. M. Davidson; 1st 
Assistant Director, Gus Agosti; 2nd 
Assistant Director, Jeremy Summers; 
3rd Assistant Director, Peter Len- 
nard; Location Manager, Juanito 
Solorzano; Continuity, Angela Allen; 
Production Secretary, Sheila Neal. 

Stills Department: Still Cameraman. 
Eric Gray. 

Special Processes: Tom Howard 
(Model), E. Bennett. D. Manning. 

Publicity Director: Catherine O'Brien. 


Year of Production : 1955. 

Studio: National Studios, Elstree. 

Laboratory: Denham Laboratories Ltd. 

Producing Company: G.H.W. Produc- 
tions Ltd. 

Producer: Church and Chapel Films 
Ltd. (i/c Production: Jas. B. Sloan). 

Stars: Mervyn Johns, Adrienne Corri. 
Emrys Jones. 

Director: Norman Walker. 

Scenarists: Lawrence Barrett from an 
original story by J. Arthur Rank and 
R. Noel Evans. 

Camera Department: Lighting Camera- 
man, Lionel Banes: Camera Operator, 
Harold Haysom; 1st Camera Assis- 
tant (Focus), Derek Whitehurst : 
Other Camera Assistant, Ken Claik. 

Sound Department: Recordist (Mixer), 
Dave Howells; Sound Camera Opera- 
tor, Michael Bassett; Boom Opera- 
tor. George Paternoster; Dubbing 
Crew. Maurice Askew, Bernard 
Childs, George Lewis. 

Art Department: Art Directors, George 
Provis, Cedric Dawe. 

Editing Department: Editor. Duncan 
Spence: 1st Assistant. Terrv Hine: 
Other Assistants. Moira Finney 
Dubbing Editor, Duncan Spence. 

Production Department: 1st Assistant 
Director. Pat Morton: 2nd Assistant 
Director, Dave Tomblin; Continuity. 
Majorie Round. 

Stills Department: Still Cameraman. 
Cyril Stanborough. 

Music: Henry Reed. 


Year of Production: 1956. 

Studio: Bray. 

Laboratory: Olympic Kine Labs. 

Producing Company: Hammer Film 

Producer: Anthony Hinds. 

Stars: Dean Jagger, Edward Chapman. 
Leo McKern. 

Director: Leslie Norman. 

Scenarist: Jimmy Sangster. 

Camera Department: Lighting Camera- 
man, Gerald Gibbs; Camera Operator, 
Len Harris; 1st Camera Assistant 
(Focus). Harry Oakes ; Other Camera 
Assistant, Michael Rutter; Second 
Camera Operator. John Reid. 

Sound Department: Recordist (Mixer), 
Jock May; Sound Camera Operator, 
Michael Sale; Boom Operator, Jim 
Perry; Dubbing Crew, Anvil Films. 
Beaconsfield; Sound Maintenance, 
Charles Bouvet. 

Art Department: Art Director, Edward 
Marshall; Draughtsman, Don Mingaye. 

Editing Department : Editor, James 
Needs; 1st Assistant, W. Bouvet; 
Dubbing Editor, A. Cox. 

Production Department : Production 
Manager and/or Unit Production 
Manager. Jimmy Sangster; 1st Assis- 
tant Director, Chris Sutton; 2nd 
Assistant Director, Roy Stevens; 3rd 
Assistant Director, Hugh Harlow: 
Continuity, June Randall; Production 
Secretary, Margaret Quigley. 

Stills Department: Still Cameraman, 
Tom Edwards. 

Special Processes: Trick Work, Bowie 

Publicity Director: Bill Batchelor. 


Year of Production: 1956. 

Studio: Nettlefold, Walton-on-Thames. 

Laboratory: Denham Laboratories. 

Producing Company: Cipa Productions 

Producer: Robert S. Baker. 

Production Supervisor: Ronald C. 

Stars: Dale Robertson, Lois Maxwell. 

Director: Henry Cass. 

Scenarists: Norman Hudis. Alfred 

Camera Department: Lighting Camera- 
man, Eric Cross; Camera Operator, 
Desmond Davis: 1st Camera Assis- 
tant (Focus). Manny Wynn ; Other 
Camera Assistant, Ken' Goodman: 
Second Camera Operator, Eric 

Sound Department: Recordist (Mixer), 
Fred Ryan; Sound Camera Operator. 
Aubrey Lewis: Boom Operator. Bill 
Baldwin: Dubbing Crew, Anvil Films 
Crew — Beaconsfield; Sound Mainten- 
tance, Dennis Arundell. 

Art Department : Art Director, Arthur 
Lawson; Assistant Art Director and 
Draughtsman, Maurice J. Pelling. 

Editing Department: Editor. Henry 
Richardson: 1st Assistant, Roy 
Norman; Dubbing Editor, Henry 

Production Department: Production 
Manager, Charles Permane; 1st 
Assistant Director, Clive Midwinter- 
2nd Assistant Director. Ted Sturgis- 
Continuity. Barbara Thomas; Pro- 
duction Secretary, Elizabeth Carr. 

Stills Department: Still Cameraman 
Frank Bellingham. 


Year of Production: 1956. 

Studio: Shepperton Studios. 

Laboratory: Humphries. 

Producing Company: Remus Films 

Producer: Jack Clayton. 

Stars: Peggy Mount, Cyril Smith, 
Ronald Lewis, Shirley Eaton. 

Director: Gordon Parry. 

Scenarists: Philip King, Falkland L. 

Camera Department: Lighting Camera- 
man, Douglas Slocombe; Camera 
Operator, Jeff Seaholme; 1st Camera 
Assistant (Focus), Gerald Fisher; 
Other Camera Assistants, Ronald 

Sound Department: Recordist (Mixer). 
Peter Handford : Sound Camera 
Operator, J. Smart ; Boom Operator, 
Bill Cook; Dubbing Crew. R. Jones, 
P. Cunningham, B. Hopkins. 

Art Department: Art Director, Norman 
Arnold; Draughtsman, W. Hutchin- 

Editing Department: Supervising 

Editor. Ralph Kemplen; Editor, Stan 
Hawkes ; 1st Assistant. Alban 
Streeter; Other Assistant, John 

Productit Department: Production 
Manager. Raymond Anzarut ; 1st 
Assistant Director, Buddy Booth; 2nd 
Assistant Director, David Bracknell; 
3rd Assistant Director, Otto Plashkes: 
Continuity. Doreen Francis; Produc- 
tion Secretary, Doris Prince. 

Stills Department: Still Cameraman, 
Eric Gray. 

Special Processes : T. M. Brian Langley 
(Hired from Pinewood Studios). 

Publicity Department : Publicity Direc- 
tor, Lilanna Wilkie. 


Year of Production: 1956. 

Studio: Nettlefold Studios. 

Laboratory: Rank Laboratories. 

Producing Company: A.C.T. Films 

Producer: John Gossage. 

Stars: Tom Conway, Elizabeth Sellars. 
Eunice Gayson, Freda Jackson. 

Director: Terence Fisher. 

Scenarists: Ivor Montagu and Max 

Camera Department: Lighting Camera- 
man, Desmond Dickinson; Camera 
Operator, Brian Rhodes ; 1st Camera 
Assistant (Focus), D. Lewiston : 
Other Camera Assistant, John Shine- 

Sound Department: Recordist (Mixer), 
Wally Day; Sound Camera Operator, 
Ray Raynham: Boom Operator. D. 
Somerset; Dubbing Crew, R.C.A.. 
Hammersmith: Maintenance. Charles 

Art Department : Art Director. Allan 
Harris: Draughtsman, David Butcher. 

Editing Department: Editor, Peter 
Taylor: 1st Assistant. Peter Miller; 
Other Assistant, R. Love. 

Production Department: Production 
Manager. Fred Swann; 1st Assistant 
Director. Rene Dupont : 2nd Assistant 
Director, Charles Hammond; 3rd 
Assistant Director. Dennis Hall: 
Continuity, Pauline Roberts; Produc- 
tion Secretary, Sallv Rich. 

Stills Department: Still Cameraman. 
Dick Cantouris. 

Publicity Department: Publicity Direc- 
tor. Horace Beck. 


January 1951 


i ( in- o) Production: 1956. 

Studio: M.G.M. Studios. 

Laboratory : Technicolor. 

Producing Company: Hemisphere 

Films Ltd. 

Producer: Adrian D. Worker. 

Stars: Cornel Wilde, Donna Reed, Leo 
Genn, Ron Randell. 

Director George Marshall. (Location 
Retakes Ken Hughes). 

Scenarists: George Levitt and Richard 

Camera Department: Lighting Camera- 
man. Freddie Young; Camera Opeia- 
tor. John Harris; 1st Camera Assis- 
tant (Focus), Peter Allwork; Other 
Camera Assistants, W. Byatt, G. 
Elliott R. Gibbings; Second Camera 
Operator, H. Smith; Second Camera 
Lighting, Eric Cross. 

Sound Department: Recordist (Mixer), 
Charles Knott; Sound Camera 
Operator, John Clennell; Boom 
Operator, P. Lacy; Other Assistant. 
W. Howell (Maintenance); Dubbing 
Crew, J. B. Smith, P. T. Jones, 
.1. Brammell, W. Carr. 

Art Department: Art Director. Elliot 
Scott; Assistant Art Director, Scott 
McGregor; Draughtsmen, R. Bream, 
V Gray, W. H. Wolveridge; Set 
Dresser, P. James. 

Editina Department: Supervising 

Editor, Ernie Walter; Assembly 
Cutter, Ted Jeffries; 1st Assistant. 
Maureen Lvndon-Haynes; Other 
\ sistant, E. Sibley; Dubbing 
Editors, Roy Baker, P. Culverwell. 

Production Department: Production 
Manager and/or Unit Production 
Manager, John Workman; 1st Assis- 
tant Director. Basil Keyes; 2nd 
Assistant Director, D. Twiddey: 3rd 
Assistant Director, D. Hall; Con- 
tinuity. Angela Allen; Production 
Secretary, Jean Clarkson; Casting 
I'M., ior. Paul Sheridan. 

Stills Department: Still Cameraman, 
Arthur Evans. 

Spa nil Processes: E. Taylor (Models). 

Publicity Department Publicity 

Director, Leonard Samson. 

Special Effects: i/c T. Howard; T. 
Lane, G. Oman (Back Projection i. 


year o) Production: 1955/56. 

Studio: Shepperton. 

Laboratory ; Humphries. 

Producing Company: Wessex (Finan 
rial Set-up: Ian Dalrvmple Advisors 
Ltd. I. 

Producer: Anthony Squire with Ian 
I >alrymple. 

Stars George Baker, Stanley Baker, 
Harrj Andrews. Michael Medwin. 

Direi tor: Julian Aymes. 

Scenarists: Ian Dalrymple, Anthony 
Squire, Ronald Spi m ei 

i amera l>< part mi nt : Lighting Camera 
man. Freddie Francis; Camera 
Operator, Arthur Ibbetson; 1st 
Camera Assistant (Focus). Derek 
Browne; other Camera Assistant 
i Lonald Anscombe. 

Sound Department: Recordist (Mixer), 
A. G. Ambler: Sound Camei .. 0] 
i"i I »ei i k Tate ; Boom ( >perator, 
P Dukelow; Other Assistant. E. Vin- 
cent; Dubbing Crew, Red Law, Bob 

1/' Department: Art Director, Cedrii 
Dav \: ■ i. tant Art Director. W. 

Hill. Inn ..ii Draught men. F Wilson. 

A. M Woolai d . I >ress i Desij 
Win dr. .i.e. John McCorry. 

irtment: Editor. 

Hunt; Assembly Cutter. M. I' rl 

1st Assistant. John Poyner; Othei 
Assistant. Eric Brown (Dubbing), 

Production Department: Production 
Manager- and/or Unit Production 
Manager. W. Kirby; 1st Assistant 
Din. i.. i, Ronald Spencer; 2nd Assis- 
tant Director, David Bracknell; :iid 
Assistant Director, Peter Parsons; 
Continuity, June Randall; Production 
Secretary, Ella Wylie. 

stills Department : Still Cameraman, 
Norman Hargood. 

Special Processes: Si < nic Artist, Basil 
Mannin; Model Shots, Wally Veevers. 

Publicity Department: Publicity Direc- 
tor, Joy Raymond. 


\<ur of Production: 1955-56. 

SI ml n>: British Lion, Shepperton. 

Laboratory : Humphi ies. 

Producing Company: I.F.P. Limited. 

Producer. John Stafford. 

Sims: Rossano Brazzi, Glynis Johns, 
Robert Morley and Tony Britton. 

Director: Ken Annakin. 

Sci am ist : G. Green. 

Camera Department: Lighting Camera- 
man, Georges Perinal; Camera 
Operator, Alan Hume; 1st Camera 
Assistant (Focus), Godfrey Godar; 
Other Camera Assistants, Denis 
Lewiston. John Shinerock. 

Smtiiil Department: Recordist (Mixer). 
Bert Ross; Sound Camera Operator. 
W. E. Webb; Boom Operator, Ken 
Ritchie; Dubbing Crew, Red Law, 
Paddy Cunningham; Sound Main- 
tenance; Norman Bolland. 

Art Department: Art Director, John 
Howell ; Assistant Art Director, 
Peter Murton; Draughtsman, R. 
Breem ; Dress Designer, Len 

Editing Department: Supervising 
Editor, Jean Barker; 1st Assistant. 
Marcel Durham; Other Assistant. 
Martin Crump; Dubbing Editor, 
Vernon Messenger. 

Production Depart mi nt : Production 
Manager, Jack Martin; 1st Assistant 
Director, Dennis Bertera; 2nd Assis- 
tant Director. John Merriman: 3rd 
Assistant Director, John Kerrison; 
Continuity, Yvonne Axworthy; Pro- 
duction Secretary, Sheila O'bonnel. 

stills Department: Still Cameraman. 
Raj Hearne. 

Special Processes: Matte Shots — Wally 
Veevei s. 

Publicity Department: Publicity Direc- 
tor, Victor Betts. 

/ ... nt ion ; Monte Carlo. 

Eastman Colour CinemaScope 



1 < i/i <ii Production : 1956. 

studio Rotherhithe. 

/ nt, m atory . Ka ■■ 

Producing Company Realist Film Unit 

Prodn, i i Ba il Wright. 
stars: Gladys Young, Sam Ci 

Director: John Durst. 

S< . nin is/ .John Eldridge. 

Camera Department Lighting Cam. 
man, Adi .leakms ; Camera Opt r; 
tor, Bill i rxlej . 1st Cam. ra Assis- 
tant (Focus), Stanlej Fairhall; Other 

Camera Assistant. Charles Hasler. 
Sound Department Recordi I (Mixer), 

'Li i \ Cot tel , Sound Camera ( (p 

tor, Ken i ioddard Boom < >perator, 
Peri \ Britten; Dubbing Crew, Ken 
i 'am. i ..ii and Anvil Films Cr< w. 
Art I >i !"ii ■ mi nt Art 1 )ii ei tor, Bei nai d 
i ..ii 

Di pal tmi nt Editor. Jatnes 
Clark i t Assistant, Deveril Good- 
nian Othei Assistant, Ernest Xerrl. 

Production Depart mi nt : Production 
Manager and/or Unit Production 
Mana-.i i'h\, Ki . . .1 man lsi Assis- 
tant Director, Gordon Murray ; 2nd 
Assistant Director, Betty Crowe; 3rd 
Assistant Director, George Wilkinson; 
Continuity. Gladys Reeve; Production 
Secretary, Anne Krish. 

Spinal 1 j io,issis Howie and Margutli 
(Travelling Matte). 


i i ar of Production . 1956. 

studio: British National. 

Laboratory: Denham. 

Producing Company: J. G. & R. B. 
Wainwright Limited. 

Producer: George Maynard. 

Stars: Jack Warner, Kathleen 


Director: Vernon Sewell. 

Scenarist: R. F. Delderrield. 

Camera Department: Lighting Camera- 
man, Basil Ennnott: Camera Opera- 
tor, Gerry Turpin; 1st Camera Assis 
tant (Focus). Brian West : Other 
Camera Assistant. Eric Robinson. 

Sound Department: Recordist (Mixer), 
Bill Bulkley: Sound Camera Operator, 
Peter Matthews; Boom Operator. 
Dave Drinkwater; Dubbing Ci • ■•■. 

F. Turtle, I-!. Coldwell 

Art Department: Art Director. Duncan 
Sutherland; Assistant Art Director, 
Harry White. 

Editing Department : Editor. P. R. 
Johnson: 1st Assistant, Olive Magill. 

Production Department: Prodm I ion 
Manager and/or Unit Production 
Manager. "Freddie" Pearson; 1st 
Assistant Director, Denis John 
2nd Assistant Director, Eric Rattray; 
Continuity, Betty Forster; Produc- 
tion Secretary, Ann Stansbor. 

Stills Department: Still Cameraman. 
Laurie Ridley. 

Publicity Di part mi nt . Publicity Direi 
tor. A. Hibbert Jones. 


Year O) Production : 1956. 

studio: Bushey Studios. 

Laboratory: Rank Laboratoi 

Producing Company: Femina Films 

Sci narist : Peter Rol 
Director: Gerald 
Si i >i,n ists : Peter Rogei S. 

Camera Department Lighting Camera- 
man, Otto Heller ; Camera Op.i 
Gus Drisse; 1st Camera Assistant 
(Focus), 1>. nil Fox; Second Camera 
Operator. Ian St rut hers. 

Sound in /nn I .... iii Recordist (Mixer), 
Frank Flvnn: Sound Camera Opera- 
tor, Rill Kobson: Hoom Opeiator. 
Barry Copland: Dubbing Crew, 
R. Jones. P. Cunningli . 

Art 1 1< p " ( "" nt \i t I 'ire. i or, Ceorge 

Kditina Department Editor. Peter 
Boita: 1st Assistant. Michael Round. 

production Depart nn nt Produi 

Manager and or Unit Production 

Manager, Al Marcus; 1st Assistant 

Directoi Basil Keys; 2nd Assistant 
Director, John Meadows Continuity, 
jinn Randall; Production Secretary. 

Trixie Wilkin. 

stills Department: still Cameraman, 
i .te Ridlej . 


In I he . i i dits l..i this film, pul li 
in October 1966. Robert Winter's 

should ha\ . i "u. , 


January 1957 



KODAK: Our members at Kodak 
have recommended that we seek 
discussions with the Management 
on the following: 

1. Three weeks' holiday after 
10 years' service. 

2. Time and a half for night 

3. Premium rates for holiday 
periods and sickness for those 
on permanent shift work to 
endeavour to bring them into 
line with the Laboratory 

The Executive endorsed this re- 


N.R.A. The Executive had before 

it the following proposed formula 

for revision of the Cost-of-Living 

Bonus Clause in the agreement 

between A.C.T.T. and the N.R.A. : 

"As from January 1957 for each 

rise or fall of one point in the 

new published Index the bonus 

shall be increased or decreased 

by Is. 6d. per week provided 

that if the Index rises by more 

than eight points the N.R.A. 

shall have the right to call a 

joint meeting to review the 

matter and provided that 
irrespective of any fall in the 
Index the cost of living bonus 
shall not be reduced below the 
figure of £2 10s. Od." 
This proposed formula was 

(b) A.S.F.P. At a joint meet- 
ing between representatives of the 
A.S.F.P. and A.C.T.T. both sides 
agreed to recommend to their 
governing bodies acceptance of the 
following proposals: 

That as from January 1957 the 
new Index of Retail Prices be 
adopted for calculation of the 
cost of living bonus on the 
basis of a rise or fall of Is. 6d. 
per week for each rise or fall 
of one point in the Index in- 
stead of Is. a point on the old 
Index, together with payment 
of the full cost of living bonus 
at age 18 instead of 21. 

The Executive endorsed the pro- 

(c) B.F.P.A. The Acting 
General Secretary reported a letter 
from the B.F.P.A. proposing that 
the agreed quota for foreign pro- 
ducers and directors in the coming 


REGION of NIGERIA on contract for 12/24 months in first instance. 
Salary according to qualifications and experience in scale (including In- 
ducement Additions) £1,728 rising to £1,944 a year. Outfit allowance up 
to £60. Gratuity at rate £150 a year. Free passages for officer, wife and 
three children under age 13. Liberal leave on full salary. Candidates 
should have had at least 5 years' experience with a reputable Film Pro- 
duction Unit or firm including 16mm. and 35mm. productions in black 
and white and colour mediums. They should be able to script for dialogue 
and must have had experience of supervising at dubbing sessions. Write 
to the Crown Agents, 4 Millbank, London, S.W.I. State age, name in 
block letters, full qualifications and experience and quote M3B/43785/CY. 

GOVT. INFORMATION SERVICE on contract for 12/24 months in first 
instance. Salary according to experience in scale (including inducement 
addition) £954 rising to £1,488 a year. Gratuity at rate £100/£150 a year. 
Outfit allowance £60. Free passages for officer and wife. Assistance 
towards cost of children's passages and grant up to £150 annually for 
their maintenance in U.K. Liberal leave on full salary. Candidates 
must be of good education and fully conversant with 16mm. and 35mm. 
editing. Write to the Crown Agents, 4 Millbank, London, S.W.I. State 
age, name in block letters, full qualifications and experience and quote 

OF NIGERIA on contract for 12/24 months in first instance. Salary 
according to qualifications and experience in Scale (including inducement 
addition) £810 rising to £1,716 a year. Gratuity at rate £100/£150 a year. 
Clothing allowance £45. Touring Equipment Allowance £40. Free 
passages for officer and wife. Assistance towards cost of children's 
passages and grant up to £288 annually for their maintenance in U.K. 
Liberal leave on full salary. Candidates must have had at least 5 years' 
experience with reputable film units and long practical experience of 
handling 35mm. and 16mm. film and magnetic tape recordings. Write 
to the Crown Agents, 4 Millbank, London, S.W.I. State age, name in 
block letters, full qualifications and experience and quote M3B/43721/CY. 

year be a total of seven for foreign 
producers and seven for foreign 
directors based on an estimated 
production of 78 films during the 
period concerned. The Executive 
recommend that the proposed 
quota be accepted on the under- 
standing that the question be re- 
examined after six months, and, if 
the total production is less than 
anticipated, the quota should be 
reduced accordingly. 

(d) Associated - Rediffusion: 
Feature rates and overtime pay- 
ments are now being paid to 
A.C.T.T. members employed in the 
Film Section at Associated- 
Rediffusion following negotiations 
with Head Office. In addition to 
receiving wage increases, lump 
sum payments totalling approxi- 
mately £1,050 to cover retrospec- 
tive adjustments have been re- 
ceived by seventeen of the 

TORIES: Radiant Colour is still 
operating and had on January 9 
two weeks' work in hand. Shop 
Steward, Bro. Norley, informed the 
Organiser that normal hours and 
rates of pay are being paid, and 
that there are now eight members 
employed there. 

Efforts have been made to assist 
those who have been made redun- 
dant, but several of the members, 
particularly the women, are not 
willing to work outside Slough. 
One of the members has obtained 
employment at another laboratory, 
and one is now working at Pine- 
wood Studios. 

(continued on page 14) 

Camera Hire 

(1) NEWMAN SINCLAIR— Mirror Shutter. 
All Cooke Lenses including Series 2., 
and Electric Motor Drive. (Available fully 
adapted for CINEMASCOPE if required.) 

(2) NEWMAN SINCLAIR--Mirror Shutter. 
Cooke Lenses and 24mm. Angineux Retro- 

(3) NEWMAN SINCLAIR— Model G. All 
and Electric Motor Drive if required. 

Kingston] Tubular and Vinten Light Gyro 


Mecal construction, pneumatic tyres, drop- 
down jacks, lightweight tracks, etc. 


FINchley I 595 



January 1957 

General Council 



Paddy Leech represented the 
widow of one of our members at 
an Insurance Appeal in Taunton. 
Mrs. Burchett's husband was killed 
in an accident while working for 
the Nigerian Colonial Film Unit. 
Because of the terms of the Indus- 
trial Injuries Act, Mrs. Burchett 
is not eligible for benefit. She is 
receiving a widow's pension and 
also a pension from the Nigerian 
Government but this case raises 
the question of principle. The 
Executive agreed the matter 
should be taken up with the appro- 
priate department of the T.U.C., 
asking them if they are aware of 
the situation and requesting their 
views as to what approaches 
should be made. 

Zannuck, Robert Rossen and 
William Lee Wilder have been 
given temporary membership of 
the Union. 

AND A.G.M.: The Executive gave 
very careful consideration to the 
problem of ensuring that TV mem- 
bers in Manchester and Birming- 
ham should be given every oppor- 
tunity to attend the Annual 
General Meeting. After consider- 
able discussion it was agreed that 
for the forthcoming A.G.M. 
A.C.T.T. will arrange transport 
with a view to getting provincial 
members down to the meeting. It 
was also agreed that Head Office 
should send out an appeal to 
members living in London to pro- 
vide accommodation for these 

BERS: Since the question of new 
entrants into A.C.T.T. has been 
bothering a number of Depart- 
mental Sections in the production 
side of the industry, the General 
Council called a conference on 
December 10, 1956, to consider 
Union policy in regard to new 
members. Twenty-six members 
attended covering representation 
from the Sections and from the 
Executive. Alf Cooper took the 

The meeting was reminded of 
the powers of the Executive and 
General Council under Rule, and, 
while Sections' activities were 
welcomed, the Executive and 
General Council had no option but 
to interpret the Rules as approved 
by the Registrar of Friendly 

In discussion the main criticism 
appeared to be that, whilst accept- 

ing this fact, it was thought that 
Sections' recommendations were 
not taken seriously enough as 
there was adequate proof that in 
cases where Sections had been 
over-ruled the person being 
granted membership against the 
Section's advice had proved un- 
satisfactory on the job. It was 
felt that this only added to unem- 
ployment and, on a long-term 
policy, brought the Association 
into disrepute. 


TIONS: The Executive had before 
it a draft agreement drawn up by 
the T.V.P.C.A. as a result of nego- 
tiations. After very careful con- 
sideration, the Executive agreed 
that the draft should be referred 
to a small expert committee for 
consideration and report back, the 
committee to comprise one tele- 
vision representative from each of 
the major companies together with 
one from the B.B.C. It was agreed 
that the conference should be an 
all-day affair and one of the points 
for consideration should be ways 
and means of strengthening the 
negotiating committee. Five Exe- 
cutive members were appointed to 

General Secretary attended the 

Annual Conference of the Non- 
Manual Workers' Advisory Council 
on December 7, 1956. Eighty-eight 
delegates from 36 Trade Unions 
representing 1.229,000 Trade 
Unionists were in attendance. 
George Elvin, our General Secre- 
tary, was again elected on the 
Executive Committee. The follow- 
ing resolution, moved by the Guild 
of Insurance Officials through their 
General Secretary Henry Levitt, 
was opposed from the platform on 
the grounds of economics, but was 
nevertheless carried almost unani- 
mously by the Conference: 

"This Conference notes the 
widespread lack of knowledge 
amongst non-manual workers 
of the functions and policy of 
the Trades Union Congress, a 
position which is often accen- 
tuated by misrepresentations 
in the press and other organs 
of information. 

" Conference notes the diffi- 
culty presented to individual 
unions in combating this situa- 
tion and with a view to apply- 
ing a remedy on a national 
scale, Conference urges the 
General Council to consider 
the possibility of using tele- 
vision, films and other modern 
publicity methods to present 
authoritative information 

about the Trade Union Move- 



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Tel: GERrard 5223 Editing Rooms GERraru 9309 

January 1957 



Shorts & Documentary 


The Old Year went out with the 
usual festivities and Unit parties, 
and there is one in particular I 
would like to mention : the Crown 
Film Unit Reunion. This is an 
annual "do" for all members who 
have been associated with the 
Unit, and invitations are sent out 
by the organisers. So if any of 
you who are ex-members of the 
Crown Unit did not get notified 
about the last Reunion in Decem- 
ber, please send your particulars 
to John Legard if you are inter- 
ested in future gatherings. 

Terry Trench 

I understand that Terry Trench, 
who, you may remember, went to 
Australia to work on the Olympic 
Games Film, has decided to stay 
in the sun, down-under, to "cut" 
another film. 

Hard Luck, George! 

Recently I mentioned George 
Noble and Cyril Sirapoff. George, 
as you know, is on leave, and 
Cyril is "standing-in" for him and 
staying in George's bungalow. 
Well, I met George and his brother 
Joe, and I enquired if there was 
any news from the Gold Coast. 
George laughed and said " Oh yes, 
I've had a letter from Cyril, and 
he informs me that he's had a 
burglary and all my shirts have 
been stolen." Hard luck, George ! 
Still, I understand they are in- 
sured, so have a grand time on 
your leave. 

Now for 1957. I sincerely hope it 
will be a prosperous one for us all, 
and I trust I shall be able to keep 
you fully informed of the news. 
I should like to thank all those 
who have helped with information 
during the past twelve months and 
I will wind up by saying : my 
ambition is to have a full-page 
"spread", as we did in the Decem- 
ber issue, every month, so please 
help me to help you. 


EDITOLA or similar wanted s/hd. 
Essential available inspection Lon- 
don area. Details and price to the 
Secretary, British Film Institute, 
164 Shaftesbury Avenue, W.C.2. 

London's latest 
dubbing theatre 


announce for hire 

a modern and economical recording and dubbing 

theatre in central London. 

Situated in Wardour Street the facilities available for 
use by film production companies include: 

A Main Channel recording unit consisting 
of an R.C.A. PM 38E for photographic or 
magnetic recording. This can be used with 
either 4 synchronous photographic and 2 
non-synchronous reproducer heads, or 1 
magnetic, 3 photographic synchronous and 
2 non-synchronous reproducer heads. 

Ancillary equipment enabling the Main 
Channel to transfer £in. standard tape at 7^ 
or 15 i.p.s. to 35mm. photographic or mag- 
netic film, or vice-versa. 

The Main Channel can 

be used for the transfer 

of 331 45 or 78 RPM 

disc recordings to 

tape or film. 

A Leevers-Rich synchropulse tape which can 
be used for synchronous shooting on location. 

A 16mm. photographic or magnetic projector 
which can be run in synchronisation with the 
35mm. equipment. This projector can also 
record magnetically independently on 16mm. 

all enquiries should be made to: 

The Studio Manager, 
Film House Productions Ltd., 
Film House, 
Wardour Street, W.i. 
Telephone: GERrard 6461. 



January 1957 

Still pictures on ILFORD HP3 
and HPS films. 

ILFORD LIMITED ' ILFORD ' LONDON Cine Sale-; Department, 104 High Holborn, London, W'.C.l Tel.: HOLborn 3401 

Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
Square, London, and Printed by Watford Printers Limited, Watford, Herts. 


(See page 25) 






I 957 

Association of Cinematograph, Television and allied Technicians 

Vol. 23 

No. 146 

PRICE 6d. 


• •' . ■ 


February 1957 


, ... once is sufficient to see the noticeable improvement in all films when masked printed 

by Colour Film Services Limited— Britain's biggest 16 MM Kodachrome laboratory. 

22-25 PORTMAN CLOSE • BAKER STREET • LONDON • W.l. Telephone: Hunter 0408-9 


February 1957 


Tfcfr K^ittitft of Modecrt Aft 



THE Annual General Meeting, 
-*- which will be held at the Beaver 
Hall, Garlick Hill, Cannon Street, 
E.C.4, on Saturday, 9th March, and 
Sunday, 10th March, is the one 
great opportunity which every 
member of A.C.T.T. has to express 
his views on Union policy and to 
help in the shaping of that policy 
for the ensuing year. 

We hope that all members who 
can possibly do so will seize that 
opportunity and come, ready with 
their views and any constructive 
criticisms that they may have to 
offer so that the incoming General 
Council can tackle its task in 1957 
with a full knowledge of what is in 
our members' minds. In this way 
the Union leadership will be enor- 
mously strengthened for such 
struggles as may lie ahead. 

In one direction in particular the 
A.G.M. of 1957 is breaking new 
ground. For the first time a 
special effort is being made to see 
that A.C.T.T. shops in the Midlands 
shall be adequately represented. 
This is a direct outcome of the 
growing importance of our Tele- 
vision membership and special 
arrangements are therefore being 
made for transport and accommo- 
dation for members who are able 
to make the journey from the 
Midlands to London. 

This year's A.G.M. comes at a 
time when the future of the British 
film industry is under debate in 
Parliament and it is therefore not 
surprising that the agenda should 
contain a number of resolutions 
designed to ensure the healthy 
growth of the industry, with a 
consequent increase in security for 
all trade unionists working in it. 
These resolutions include a call 
upon the government to revise its 
policy toward the cinema in order 
to ensure generous and imagina- 
tive sponsorship of documentary 
films to make known at home and 
abroad the problems and achieve- 
ments of the British people. 
Another resolution calls for the 
establishment of a National Film 
Unit under a National Film Board. 
The establishment of a National 
Film Circuit is also called for. The 
setting up of a fourth circuit has 
for long been part of the policy of 
A.C.T.T. and the other unions con- 
cerned with the film industry. 

Naturally the agenda paper 
carries a number of resolutions 
dealing with Television. One, in 
the name of the General Council, 
reaffirms A.C.T.T.'s policy of 
lOCr membership in the appro- 
priate grades in Television. It 
also draws the attention of the 
Postmaster General and the T.U.C. 

to the fact that the B.B.C. still 
refuses to recognise A.C.T.T. in the 
Television field and asks for the 
wholehearted support of members 
in any action that may be deemed 
necessary for the establishment of 
trade union standards in this field 
of work. 

In the name of the General 
Council, too, there is a composite 
resolution dealing with the effects 
of Government policy on the living 
standards of trade unionists in 
general. This motion protests in 
strong terms against the increased 
charges under the National Health 
Service, the increased cost of 
transport and the new Rents Bill. 
The resolution instructs the incom- 
ing General Council to take all 
necessary steps to resist any 
attempt to reduce living standards 
as a means of solving the nation's 
economic problems. 

What we have outlined above 
are some of the more important 
items which A.G.M. will have 
before it for debate. There are 
many others which closely touch 
the interests of every member of 
the Union. March 9th and 10th 
will provide you with the oppor- 
tunity of doing your part to see 
that those interests are protected. 


This is Urgent 


Accommodation is still urgently required for provincial Television members attending the 
Annual General Meeting. The Executive Committee therefore appeal to all members in the 
London area who are in a position to do so to offer such accommodation. Please advise 
Head Office without delay, either through your Shop Steward, by telephone to Gerrard 8506, 
or alternatively by completing the form below and posting it to Head Office, 2 Soho Square, 
London, W.l, staring whether you can accommodate one or more members for the night 
of Saturday, 9th March, 1957. 

To Association of Cinematograph, Television and allied Technicians, 
2 Soho Square, London, W.l. 

I can accommodate (number of members) for the night of Saturday, 

9th March, 1957. 



(Telephone number ) 



February 1957 

Our A.G.M. Guest 


IT is said that one of the features 
which most impresses the foreign 
visitor to this country is question- 
time in the House of Commons. 
Any visitor there at that time will 
almost inevitably see Stephen 
Swingler, Labour member for New- 
castle-under-Lyne, pressing Cabinet 
Ministers on a variety of subjects, 
for he is one of the most regular 
and persistent of Parliamentary 

A.C.T.T. knows him through 
films, but the film industry is only 
one of the many subjects in which 
he takes an expert interest. 

The usual two guesses for his 
interest in films are both wrong. 
He was not lobbied by his brother 
Humphrey of Green Park Produc- 
tions, nor was he approached by 

The reason is much simpler. 
Woodrow Wyatt — now no longer a 
Member of Parliament — and he 
were looking at the published quota 

returns three or four years ago 
and came to the conclusion they 

were excessive and that the Board 
of Trade were doing little about it. 
They therefore tabled a series of 

questions which stirred things up 
most effectively. 

The subsequent successful prose- 
cution of defaulters and the decline 
in quota defaulters, particularly 
among some of the larger cinemas, 
are in most people's minds attribut- 
able to the campaign started by 
Messrs. Wyatt and Swingler and 
carried on by Stephen Swingler 
after Woodrow Wyatt's General 
Election defeat. 

It was the start of this cam- 
paign which brought A.C.T.T. in 
touch with Stephen Swingler and 
since then we have had the friend- 
liest possible contact. We are there- 
fore particularly glad that he has 
been able to accept the General 
Council's invitation to be the guest 
speaker at our 24th Annual Gen- 
eral Meeting, and we are sure his 
attendance will be added induce- 
ment to members to be present on 
the second day of the Meeting, 
Sunday, 10th March, when he will 
be speaking to us. 

VONT fofaCF 

AffTEcfiioa You, 

VVlLL ^ 


A I Oil 

RAM. <» 

February 1957 




AMONG the many resolutions on 
the agenda of our Annual Gen- 
eral Meeting will be one from 
Humphries Laboratories on the 
question of Trade Union recogni- 
tion at Kodak Ltd. This again will 
focus the attention of our member- 
ship on the attitude of this Ameri- 
can firm whose persistence in re- 
fusing to negotiate with the Trade 
Unions continues. 

How much do other sections of 
our membership really know about 
this giant company, who employ 
over 7,000 workers on film, sensi- 
tised plates, paper and camera 
production ? 

Kodak Ltd. can be classified 
under the heading of reasonable 
employers who concede pension 
rights, profit sharing, bonuses, 
social facilities, etc. to their em- 
ployees. However, experience in 
the Trade Union movement has 
taught us that concessions given in 
the absence of negotiated agree- 
ments can also be taken away. 
These concessions can never be a 
substitute for Trade Union repre- 
sentation and recognition. 

Wage Rates 

Wage rates at Kodak are not 
determined by the practice gener- 
ally accepted throughout British 
industry, i.e., through negotiation 
with the Trade Unions. They are 
established by a system of job 

Periodical assessments are car- 
ried out by the company's " Inde- 
pendent Evaluation Officers ", and 
at times it happens that as a result 
of these assessments dissatisfac- 
tion arises even if increased rates 
are awarded ! 

One case was that of a Film 
Dryer who had succeeded in pass- 
ing a departmental examination 
and had accepted promotion as a 
Film Tester (a grade carrying a 
higher basic rate). On the next 
company evaluation, the Film 
Dryer rate was increased to sur- 
pass that of a Film Tester. This 
meant that the individual con- 
cerned was receiving a smaller 
rate than he would have received 
on his original job. Is this pro- 
motion ? 

On a number of occasions I have 

met the management to pursue 
grievances arising from job evalua- 
tion. It is not uncommon to find 
rates decreased after an assess- 


Bessie Bond 

The company find it extremely 
profitable to employ people on 
night work. Under the A.C.T.T. 
agreement with the Film Labora- 
tory Association night work is 
paid at time-and-a-half, but our 
members at Kodak receive only a 

last five years, have failed to imple- 
ment the holiday allowance operat- 
ing in the Film Laboratories, i.e., 
three weeks' holiday after ten 
years' service. With the exception 
of certain grades, Kodak employees 
have to complete twenty-five years' 
service with the company before 
becoming entitled to three weeks' 

Under our Laboratory agreement 
all holiday and sickness benefits 
for permanent shift workers are 
calculated on premium rates. But 
at Kodak both holiday and sickness 
benefits are based on flat rates : 
although the company could well 
afford to implement these benefits 
already enjoyed under A.C.T.T. 


meagre allowance of 7/- per night 
above their normal day rate. 

On this issue alone our members 
have distributed over 2,000 leaflets 
which met with favourable res- 
ponse at the factory and assisted 
in consolidating and recruiting 

It is significant to note that the 
company which made, before taxa- 
tion, over £12,000,000 profit in the 

Under the Government Contract 
Law any employer working on Gov- 
ernment Contracts, as Kodak do, 
must recognise the right of their 
employees to join their appropriate 
union. Kodak Ltd. are obliged to 
adhere to this ruling, but this is 
where their obligation ends. It is 
true that the management on cer- 
tain occasions agree to meet us 

(Continued on page 22) 



February 1957 


(JHOP Stewards get strange ques- 
•^ tions from their members, and 
they are pretty good at finding the 
right answers. However, try this 
one on yours and see what happens 
— "Are you breaking the agree- 
ment if you drink coffee in the 
tea break?" 

This all came about because we 
were talking of the shortage of 
sugar which there appeared to be 
in some parts of Soho recently, 
just before the price went up. The 
manufacturers were accused of 
holding the sugar back, knowing 
that the price was to increase, and 
some A.C.T.T. members were won- 
dering whether and when they 
might get an increase to compen- 
sate for this latest example of the 
benefits of private enterprise. 

Mr. Cube 

Smiling on all this with his sweet 
tooth showing is the famous " Mr. 
Cube " of Tate and Lyle, who 
seem to have monopolised sugar as 
efficiently as Mr. Rank has films 
and flour. " Mr. Cube's " West 
Indian plantations had an excel- 
lent year; "Mr. Cube's" own fleet 
of sugar ships have been packed 
full, and he has put up the freight 
charges to the refineries. And who 
owns the refineries? Why, " Mr. 
Cube ", who has passed on the 
charges (plus a nice little extra 
amount for the refineries' profits) 
to you. 

But just you try passing the 



and listen to our point of view, but 
they decline to negotiate with us, 
or with any trade union. 

Nevertheless our growing 
strength among the key film wor- 
kers in the company is a clear and 
inspiring indication that the wor- 
kers, as a result of their own ex- 
periences, plus the assistance of 
our active members, who cease- 
lessly fight for trade union recog- 
nition, are learning that A.C.T.T. 
membership has plenty to offer ! 

extra cost on to your employer — 
assuming you are not unemployed 




— and see what happens ! If you 
are one of those under the Labora- 
tory, Shorts or Newsreel Agree- 
ments who get an automatic rise 
as the official cost-of-living index 
rises, you will find that it is so 
arranged that it is a long time 
after the prices have gone up in 
the shops that you get anything — 
and then it will not be enough to 
compensate you fully. 

If you are a feature or TV mem- 
ber, or working on making equip- 
ment or at Kodak, you may well 
get a lecture on how poor your 
employer is and how wicked you 
are for creating a wages-prices 

That other sweet pleasure 

Of course, there is more to life 
than eating sugar, Take that other 
sweet pleasure, paying your land- 
lord his rent, for instance. 

But I shall not say much on this 
topic, as it is to be aired at our 
annual general meeting on 9th and 
10th March. Let me just make a 
point or two : the Government is 
saying it must rush the Rent Bill 
through Parliament because of the 
pressure of business there — exactly 
the same point that Lord Mancroft 
made on behalf of the Government 
in the House of Lords in December, 
when it tried to rush the Quota 
section of the Cinematograph Films 
Bill through without proper oppor- 
tunity for amending and discussing 

The film trade was unanimously 
furious about this, and the Govern- 
ment gave in and told Stephen 
Swingler, M.P. in the House of 
Commons that, after all, it pro- 
posed consulting the industry on 
the future of Quota legislation. 

The moral is that if enough 

people lobby their M.P.s about the 
Rent Bill, that Bill can be delayed 
and amended — but, of course, the 
Government considers the Rent Bill 
far more important than the Films 
Bill, so it will not be an easy 

Talking of lobbying, the cinema 
owners are putting a lot of work 
into trying to get Entertainments 
Tax reduced in the Spring Budget. 
I wish them luck, but do not think 
me back-handed if I qualify those 
good wishes. Our colleagues, the 
cinema staffs in NATKE, should 
get some of the benefit from a 
reduced Tax, as should the cinema 
patrons and the producers of Bri- 
tish pictures. 

No Calamity? 

It would be foolish to make any 
predictions about the Tax and the 
Budget, but it is worth noting that, 
especially since Suez, the high cost 
of armaments will prevent the 
Government being very generous 
to the cinemas. When owners com- 
plained that a number of halls 
were closing, they were callously 
told by Lord Mancroft : " We all 
know places in which there seem 
to be competing cinemas on every 
corner, and it is little wonder that 
in times of declining cinema atten- 
dance some of these must of neces- 
sity close their doors. But it would 
be quite wrong, I think, to see in 
this a calamitous situation." 

It has been suggested that 
cinema Entertainments Tax may 
be slightly reduced, but, to make 
up for this, there will be some form 
of tax on television. The argu- 
ment is that the Government would 
not dare give the cinemas much of 
a concession as that would en- 
courage umpteen others to demand 
similar treatment; and so it views 
the entertainment business as a 
single industry, and it intends 
juggling with the tax it gets from 
different departments of that in- 
dustry. Damn clever, these politi- 
cians ! 

We all know the close business 
links between some sections of the 
film and TV worlds — Granada TV 
and Granada Theatres, for ex- 
ample, or Rank's interests in 
Cinema-Television Ltd. All this 
raises again the need for our film 
and our TV members to stick to- 
gether, as well as the bigger ques- 
tion of Trade Union unity within 
the entertainment industry, which 
was considered by the T.U.C. 
several years ago. The latter is a 
big problem that cannot be tackled 
in a hurry. But there is no harm 
in starting to think about it now. 

February 1957 



A Technician's Notebook 

Magnificent Photography 

OPINIONS about the merits of 
War and Peace as a motion 
picture have varied considerably, 
but there has been no disagree- 
ment about the magnificence of 
the colour photography. 

In an interview with Jack 
Cardiff, published in the American 
Cinematographer, Derek Hill 
elicited some interesting facts 
about the shooting of this huge- 
scale production. 

First about the photographic 
credits, which list Jack Cardiff as 
director of photography with addi- 
tional photography by Aldo Tonti, 
a leading Italian cinematographer. 
Tonti was apparently responsible 
for some of the battle scenes and 
all the Napoleon sequences, the 
rest of the photography was 
handled by Cardiff. 

This was his first picture in 
VistaVision and before production 
started he spent two weeks in 
Hollywood familiarising himself 
with the system. To start with, 
two new VistaVision cameras were 
flown to Rome, later four VV 
cameras were made available and 
used in photographing the three 
great battle scenes involving 
thousands of extras. 

Summer Snow 

Cardiff said that his experience 
on Scott of the Antarctic stood him 
in good stead when it came to re- 
creating the snow and storm 
effects in War and Peace. ' Re- 
creating ' is the right word as a 
large proportion of the film was 
shot during the height of the 
Italian summer. For one scene it 
was necessary to scatter powdered 
plaster over a square mile of the 
location to simulate the effect of 

Sprayed Glass 

In the ' exterior ' snow scenes 
shot on the studio stage Cardiff 
used a sheet of glass sprayed white 
in front of the camera plus a pale 
green filter to produce the effect of 
a slight mist. The duel in the 
snow sequence which has aroused 
so much comment, was also shot 
on one of the stages at Cine Citta. 

To get the effect of dusk on a 
winter evening a glass painting of 
a sky was used in front of the 
camera, as the wide angle lens with 
which the scene was shot covered 


A. E. Jeakins 

too great a field. For a sun effect 
in the same sequence a lamp was 
directed on to the sky area of the 
glass painting, this combined with 
colour and fog filters, gave the 
effect that Cardiff was aiming at. 

" War and Peace was in many 
ways a cameraman's holiday," 
Cardiff is quoted as saying, " It 
was a realistic subject and it de- 
manded a straightforward, raw 
treatment . . . the whole approach 

stated that the Dutch firm of 
Philips had been entrusted with the 
task of producing a suitable pro- 
jector capable of showing not only 
Todd-AO 70mm. film but also 
35mm. films shot in any of the 
systems in current use. 

Stanley Bowler, who saw the 
projector demonstrated at the 
Photokina in Cologne, writes about 
it in the British Journal of Photo- 

Within a year of the agreement 
with the American Optical Co. 
being entered into, the first 
machines were shipped to America 
in time for the premiere of 
Oklahoma, first Todd-AO produc- 
tion. The new Type DP70 machine 
is now in full production. 

As is now well known, in this 
system the picture is photographed 
with lenses having acceptance 
angles up to 128° on to 70mm. film. 


was deliberately broad, almost 
rough ". 

It has been announced that 
Todd-AO will be shown in this 
country on 1st May. Readers may 
remember that when details about 
this system were first given some 
two or three years ago, it was 

The release print carries six 
magnetic sound tracks. 

As might be expected the pro- 
jector is of massive and robust 
construction. The main housing 
for the film transport mechanism 
is about two feet high by eighteen 
inches from side to side and from 
front to back. 



February 1957 


/"|UR fears that the Government 
" has no intention of accepting 
amendments to the new Cinemato- 
graph Films Bill have been more 
than confirmed by the debates in 
the House of Lords during the 
Committee stage. Not only have 
all amendments been refused, but 
the Government spokesman has 
made it clear that there is no in- 
tention at this stage to permit 
changes in the all-important Part 
Three of the Bill which deals with 
the continuation of the Quota pro- 

This part of the Bill confines it- 
self to a simple extension of the 
existing Act. Now this Act is ten 
years old, and much experience has 
been gained on its operation during 
this period, and many weaknesses 
have been discovered. It was hoped 
that these could be corrected in the 
new Act, and it is quite monstrous 
for the Government to railroad 
their Bill through both Houses of 
Parliament without opportunity for 
change and amendment. 

It is not as if A.C.T.T. alone is 
objecting to this course. For once 
the whole industry appears to be 
united on the fact that changes are 
needed, even if views differ, as they 
must do, as to what changes are 

Joint Protest 

All the Trade Unions and the 
B.F.P.A. have jointly protested to 
the Government, and so, we under- 
stand, have many other trade 
bodies. As a result of these pro- 
tests, and in reply to a question in 
the Lower House from Mr. Stephen 
Swingler, the President of the 
Board of Trade has been obliged to 
give an undertaking that later in 
the year he will consult the Cine- 
matograph Films Council and all 
sections of the industry about de- 
tailed amendments to the Quota 

Amplifying this, Lord Mancroft 
said in the Lords that these dis- 
cussions will begin just as soon as 
the present Bill, and regulations 
made under it, are completed with 
a view to legislation as soon as 
possible after that. 

In the meantime the Government 
will use its powers to get the pre- 
sent Bill on the Statute Book, un- 

Anyone who takes the trouble to 
read the Hansard report of the 
Lords debate will be well rewarded. 
He will find, for instance, that the 
noble lords sit only two days a 
week, one day from 2.30 to 7 p.m. 
and on the other from 3 to 7.30 
p.m. Although these working 
hours compare favourably with the 
A.C.T.T.-B.F.P.A. Agreement, it is 
instructive to note that in addition 


Ralph Bond 

to the Cinematograph Films Bill 
their lordships also found time to 
consider, during these arduous 
working hours, the Hastings Tram- 
ways Bill, the Dentists' Bill, the 
Ghana Independence Bill, Egypt, 
and the Public Trustee (Fees) Bill! 

" I am Getting Tired " 

All this hard work obviously had 
an effect on Lord Mancroft, the 
Government spokesman on the 
Films Bill; at one stage he said: 
" I should like to finish the Bill on 
Tuesday night because 1 am get- 
ting a little tired of it ". To which 
Lord Lucas, Leader of the Oppo- 
sition, very properly replied: " I 
have not succeeded in one of my 
amendments, but I am not tired ". 

We cannot be satisfied with the 
way the Government is forcing this 
Bill through both Houses, despite 
the promises of " later consulta- 
tion ". 

The changes that A.C.T.T., in 
association with the other Unions, 
desire, are of a fundamental 
character. We want a much clearer 
definition of what characterises a 
"British" film. At the present time 
it is possible for a film to be made 
without any United Kingdom tech- 
nicians being employed, and still 
qualify for British Quota. 

The present Act requires that to 
be " British " a film must, among 
other things, be made in a studio 
within Her Majesty's Dominions, 
and that a required percentage of 
the labour costs involved shall be 
paid to British subjects. 

We are suggesting in both cases 
that the words "United Kingdom" 
shall be substituted, so as to pro- 
tect the employment position of 
A.C.T. T. and other Union members. 

Lord Farringdon tabled the 
appropriate amendments in the 
House of Lords for this purpose, 
but the Government strongly resis- 
ted them. 

We also suggest that a further 
definition be added to the effect 
that for a film to be " British " the 
makers must ensure that not less 
than 95 per cent of the laboratory 
processing costs shall be incurred 
with a laboratory in the United 

An amendment to secure this 
new provision was also tabled by 
Lord Farringdon, but met with a 
similar fate. 

What other changes do we 
want? All the Unions are now 
agreed that Renters' Quota should 
be restored. As I mentioned in my 
article last month, this was origin- 
ally an integral part of the Act, 
but was dropped in 1948. At that 
time, A.C. r.T. and others, were 
confident that British films could 
at last stand on their own feet, and 
consequently we did not oppose the 
elimination of the Renters' Quota 

Events in the last ten years have 
not justified these hopes. Despite 
everything, our share of our own 
exhibition market is still only 30 
per cent. Hollywood films are as 
powerfully entrenched as ever, and 
there is no obligation on the im- 
porters of these films to make any 
British films at all. 

Few would disagree that many 
more British films could be made, 
and the exhibitors are not al- 
together without reason in com- 
plaining that although they are 
required by law to show a fixed 
percentage of British films, there 
is no statutory obligation on any- 
one to make them. There is there- 
fore a powerful argument for a 
new Renters' Quota which would 
oblige all the importers of foreign 
films to make or acquire a pro- 
portion of British products. 

The Government will resist this 
proposal because it will cause 
offence to Hollywood, and will, 
they say. be contrary to the 


Index Vol. 22 - 1956 






Suspended Alibi 165 

The Jury 21,37.76 

The Last Man to Hang 133 


Best in Our History (Editorial) 35 

President's Speech 39 

Report of Debate 40, 41, 42, 43 




American Cinematographer Handbook 138 

Commercial Television Year Book 58 

Elsevir's Dictionary of Cinema, Sound and Music 185 

Hi-Fi Loudspeakers and Enclosures 138 

How Films Are Made 125 

How to Write Film Comedies 58 

Kemps TV Directory 138 

Sunshine and Champagne 165 

Sunshine and Shadow 155 

CAMERA COLUMN 5, 22, 60, 72 

CAMERA OF 1910 86 





DERMATITIS 5, 42 168 



21st Anniversary I.. \3 

The Early Days 6, 7 

" Birthday Party " 7, 14 

" Twenty-one Years," by Harold Myers 8, 9, 10, 11 

Illness 148 


Without Prejudice 3 

We are Not Alone 19 

Best A.G.M. in Our History 35 

The Cost of Living 51 

" Not bloody likely " 67 

A Policy for British Films 83 

Some Basis for a Policy 115 

Prepare for these debates 163 

Not Good Enough ? 179 

FILM AND TV ROUND-UP 13, 29, 45, 59, 70 


FILMING ROUND THE WORLD, Talk by S.r Arthur Elton 54 

GENERAL COUNCIL IN SESSION 28, 75, 92, 107, 124, 140, 157, 172, 188 

GENERAL SECRETARY WRITES 4, 20, 52, 68, 69, 100 


GUIDE TO BRITISH FILM MAKERS 15, 30, 46, 62, 63, 77, 78, 94, 95, 109, 110, 127. 142, 158, 159 




Lab Topics 5, 22. 36, 56, 69, 70, 87, 105, 126, 148, 168, 187 

Case for New Agreement 100 

George Humphries — a Correction 171 

Humphries' New Laboratory 53 

Letter on 21st Anniversary Ig5 

New Agreement Accepted 181 

Pioneers Remember 153 

President Congratulates Labs 147 

Proposals for Lab Agreement 92 

Twenty-one Years of Struggle 150 

Why Labs want a New Agreement 73 





Arthur Barnes 

George Burgess 

Arthur Dent 

George Gresty 

Sir Alexander Korda 

Erin Lindegaard 

Billy Russell ..." 

F. A. Teather 






"RUSHES". By " Focus " 



TECHNICIANS' CREDITS. See Guide to British Film Makers 



How we get on the air 

ITV— a Policy for Balance 

Time, Space and the I.T.A 

TV Branch Formed 

TV Producers' and Directors' Dance 

TV Producer-Directors' Section 

Twenty Years of Television 





















12, 27, 44, 55, 74, 92. 125. 139, 156. 167. 183 


183, 188 




11. 57, 75, 91, 101, 135. 156. 169. 182 

11. 21, 38. 71. 72. 86. 122. 134. 164. 180 






106, 155 




, 24 


83, 84 





Co-ops in Action 

They Started a Revolution 


National Film Finance Corporation Report 

Observer Film Exhibition 

BOWER, DALLAS. Twenty Years of Television 


Five Shillings a Day Holiday 

They Start on April Fool's Day 

U.S. Film Squeeze in Japan 

COOPER, ALF. Lab Topics 

COX, STEVE. Shorts & Documentary Section Report 

DAVIS, DESMOND. Time, Space and the I.T.A 

DICKINSON, THOROLD. Paris Stocktaking 

ELTON, Sir ARTHUR. Filming Round the World (talk) 


ELVIN, GEORGE and WHEELER, CHARLES. Trade Union Talks in Rome 

"FOCUS". Rushes 

GREEN. ERNEST. Sorry— It's Education 

HARDY, FORSYTH. Years of Constant Struggle 

HARRIS, LOUIS. Three-headed Editor Required 

JEAKINS, A. E., Technician's Note Book 

LAUNDER, FRANK. Sir Alexander Korda 

LEWIS, MORTON. Film and TV Round-up 

McLEOD, LEWIS. Dynamic Frame Technique 


Labour Party Conference 

Organiser's Page 12. 

MILROY, VIVIAN. How we get on the air 

MYERS, HAROLD. Twenty-one Years 

ORNA. B. and E. Camera of 1910 

TWIST. DEREK. Rank Organisation Report 

WHEELER, CHARLES and ELVIN. GEORGE. Trade Union Talks in Rome 
WHITTEMORE, BILL. Why Labs Want a New Agreement 

22, 56. 69. 87. 105. 126. 148. 168 
11. 57. 75. 91, 101, 135. 156. 169 



67. 68 










11, 21, 38. 71. 72. 86. 122 


13. 29. 45. 59. 70 



27, 44. 55. 74. 92. 125. 139. 156. 167. 183 







February 1957 



Geneva and Havana Agreements 
on Tariffs and Trade. Our concern 
is not with these Conventions, but 
with providing the means for a big 
expansion of the British film pro- 
duction industry, and if G.A.T.T. 
prevents this, it is up to the Gov- 
ernment to get tough. France and 
Italy are parties to G.A.T.T. but 
their Governments can find ways 
and means to help their film in- 
dustries. Why can't ours? 

Up to AH of Us 

By the time you read this article 
the debate in the House of Lords 
will have concluded, and the Bill 
will have had its third reading. 
Now it will go to the House of 
Commons for the same procedure. 

It is important that every effort 
be made to challenge in the Com- 
mons the Government's arbitrary 

So please write or, better, see 
your M.P. Even if you don't like 
writing letters this is the one 
occasion when your own personal 
interests are vitally affected. It's 
up to all of us. 

Death of 

Percy Hermes 

The sudden death of Percy 
Hermes wili come as a shock to 
all who knew his lovable and 
amusing personality. 

Percy entered the industry with 
Henry Edwards at Teddington 
Studios in 1931, remaining when 
Warner Bros, took over. When war 
broke out he joined Launder-Gilliatt 
Productions as their Permanent 
First Assistant Director, and re- 
mained with them for many years. 
Of late he had been engaged on 
work for Douglas Fairbanks Pro- 

During his twenty-five years in 
the studios he had amassed credits 
on nearly three hundred produc- 

His son Douglas, also an Assis- 
tant Director, to whom we extend 
our deep sympathy, carries on the 
tradition. He has been set high 
standards by the respected and 
popular Percy who will be sorely 
mis'sed in those places where pic- 
tures are made with an occasional 
laugh as well as with keen effi- 


Shorts and Documentary Section 



I am sure that our Section Com- 
mittee and all the members who 
have attended will agree that our 
shows on the Films We Make are 
giving great satisfaction. 

Our second show. People, Not 
Things, at the Mezzanine Theatre, 
Shell Mex House, was even better 
attended than the first. 

The first film shown, Thursday's 
Children, was introduced by Direc- 
tor Guy Brenton, who also wrote 
the script. He explained how, un- 
sponsored, the Unit set out to por- 
tray the teaching of deaf children, 
whose ages range from four to 
seven years, and how, when funds 
were exhausted, Jimmy Carr of 
World Wide Pictures stepped into 
the breach and sponsored the film 
through the editing, dubbing and 
final stages. 

Guy went on to say that the film 
won an Oscar in 1954. It repre- 
sented Britain at the 1954 Venice 
Festival and was awarded a prize 
in Edinburgh. Yet after all this 
the big circuits refused to book it. 
However, eventually it was booked 
and shown at the Granadas. 

The second film, Continuous 
Observation, was written and 
directed by Margaret ("Tommy") 
Thomson for Basic Films and spon- 
sored by the Ministry of Health 
for the training of nurses in mental 

For Nurses 

"Tommy" introduced the film, 
explaining that it was made speci- 
ally for nurses dealing with the 
care and treatment of patients 
suffering from psychosis. The film 
showed the early experiences of a 
young nurse training in a hospital 
for mental cases. 

A very lively discussion followed 
the showing of the films. In the 
course of this the view was ex- 
pressed that apart from sponsor- 
ship and distribution, both, of 
course, important factors, the 
script is vital, and to make good 
films more time is needed at the 
treatment and script stages. Also, 
it was urged, films should contain 
the human element because people 
are interested in people, yet there 

is a vast number of productions 
churned out with a monotonous 
voice, droning on and on. 

Well, now I know that if and 
when I ever become a Producer — 
no comments, please! — I shall 
want a good sponsor, give my 
director plenty of time on the 
treatment and script, not too long, 
though, and I shall want good dis- 
tribution to get the sponsor's 
money back. 

On behalf of the Committee I 
would like to thank all those who 
attended and made the show the 
success it was. 

Rushed to Middle East 

Now for an item of news. I re- 
cently met Director George Sturt, 
who was out in Ceylon for four and 
a half years working for the Ceylon 
Government. Two months after his 
return here he was lushed off to 
the Middle East to direct Jack 
Howell's picture Journey from the 

Jack wrote the script and pro- 
duced the film, Cyril Arapoff was 
Cameraman, and Terry Trench was 
the Editor. I believe these have 
been mentioned in this column be- 
fore, so I will add that Jack, who 
was in hospital is back in his pro- 
ducers' chair. Cyril is due back 
from the Gold Coast shortly and 
Terry, to my knowledge, is ^till 
basking in the Australian sun. 

Cover Still 

Jimmy Edwards, as Harris, in 
Three Men in a Boat, gets tough 
with a Zoo parrot. 

L Still by Ray Hearne. 



Editorial Office: 
2 Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Sq., W.C.I 

Telephone: HOLborn 4972 



February 1957 

The winter issue of " Bulletin ", 
organ of IATSE, our counterpart 
in the U.S.A., throws an interest- 
ing light on union affairs over 
there. It seems the Sound Section 
there are as much in the vanguard 
as here. In a large box on one 
page is notice of a substantial 
wage increase and a cut in the 
working week from 44 to 40 hours 
for R.C.A. sound maintenance men. 

The final paragraph of the notice 
would ring a bell for sound mem- 
bers. It refers to violations of the 
44-hour week and asks members to 
submit copies of their time-sheets 
when this has occurred. 

An item for the Television Pro- 
gramme Contractors : Seattle 
members of the union, helping in a 
state-wide campaign to popularise 
the buying of goods bearing a 
union label, made a brief television 
film on the subject. The three 
local stations showed the picture 
free on their allotted public service 

Among the five new designs of 
Christmas cards sold in 1956 by 
the Motion Picture Relief Fund, 
the first two selected by the judges 
were the work of the Hollywood 
Scenic Artists Branch. Said their 
secretary, " We are proud of our 
members. They were competing 
with art directors and high-rank- 
ing artists of the nation ". . . 

A note for the Publicity Section : 
When Local (818) (Publicists) held 
its annual party one of the guests, 
a young star, made her entrance 
on a baby elephant, and Miss Jayne 
Mansfield attended in a miniature 
leopard's skin bikini. (How 

" miniature " can a bikini get?) 

South Africa 

Freedom is having a tough time 
of it in many parts of the world 
these days and not least in South 
Africa. Skimming through the 
pages of the I.L.O. review, usually 
packed with .such information as 
the fact that Afghanistan has rati- 
fied one ILO convention since that 
body's formation in 1919, I came 
across the following piece of 
vicious legal jargon from the South 
African Industrial Relations Act 
1956. In the section dealing with 

definitions, the Act states: " A 
' coloured person ' means a person 
who is not a white person or a 
native, a ' white person ' means a 
person who in appearance ob- 
viously is, or who is generally 
accepted as a white person, but 
does not include a person who, 
although in appearance obviously 
white, is generally accepted as a 
coloured person ". 


Members will be glad to hear, 
following the generous response to 
the TUC appeal, that the Hun- 
garian TUC has written thanking 
the TUC for their help. 

No Assistants ? 

The Rank Organisation is noted 
for its excellent publicity. Re- 
cently it took a half-page in The 
Times for an advertisement that 
depicted the whole production 
team from production manager 
to clapper-boy all standing on the 
set. A chart by the large photo- 
graph (on which several A.C.T.T. 
members were recognisable) indi- 
cated the various jobs. I scrutin- 
ised the list, found there were full 
crews but for some reason or other 
only the First Assistant Director 
was included. A film at Pinewood 
without second and third assistants 
is rare to the point of being non- 


I have been asked to reassure 
our members in Associated-Re- 
diffusion TV about redundancy 
rumours in this company. I have 
it from most authoritative and re- 
liable sources that there are to be 
no dismissals among those con- 
cerned with the writing, trans- 
mission, and distribution of memos. 
If anything, there is likely to be 
an increase in this work. 

" Young Film " 

I have a copy of " Young Film " 
before me, a new publication put 
out by the International Union of 
Students, and meant for young 
people working in or interested in 
films. It is an interesting develop- 
ment when a magazine published 

in Prague has a back page still of 
Miss Diana Dors. The magazine 
has a more serious side with 
articles on films made by the 
Prague High School of Cinemato- 
graphy. A quote from the caption 
under a cartoon, a jaded producer 
speaking : " Oh, it's the same old 
story . . . mad scientist meets ape- 
girl, ape-girl throws mad scientist 
into volcano, werewolf bites ape- 
girl, elephant boy marries 
daughter of vampire." 

Congratulations to Mr. and Mrs. 
Alan Blay on the birth of a 
daughter, Susan Ann, on 7th Feb- 
ruary. Both mother and daughter 
are doing well. Alan Blay is our 
deputy steward at Shepperton 
Studios, and our members there, 
particularly the sound department, 
extend their best wishes to the 

Our stills members have lost an 
old friend and colleague in Frank 
Bourne, who died recently in hos- 
pital. He had been in bad health 
for some time, but before that he 
had always been an enthusiastic 
member of the union and parti- 
cularly of the stills section. He 
joined the A.C.T.T. in 1938 and will 
be remembered and missed by 
many old friends in the business. 


Cover Competition 

First prize of £10 10s. Od. 
in the competition for our 
new cover has been 
awarded to Jack Timms. 
The second prize of 
£3 3s. Od. has been awarded 
to Albert W. l T rry. Nine 
entries were received and 
the Journal Committee 
would like to thank all 
entrants fur the high 
standard of work sub- 

February 1957 



Lab Topics 


OUR Shop Steward at Radiant 
Color Laboratories, Slough, 
tells us that work is still going on 
and that they have a hope of this 
laboratory remaining open. All our 
members who became redundant a 
short while ago have not been fixed 
up with jobs yet, as there seems a 
reluctance among some of them to 
move from the Slough area. How- 
ever, one has obtained employment 
at Pinewood Studios. 

The Technicolor Shop has now 
started the experiment of subscrip- 
tions being stopped at source each 
week, as agreed by the General 
Council some little while back, and 
it is felt by many of us that one 
of the biggest headaches in a large 
shop such as this is about to end. 
Many of the members are really 
keen on this idea, but it is only 
fair to report that some are not 
too happy. 

The shop committee hope that as 
I he idea gets into full swing every- 
body will realise that it is a good 
system, with more good points than 
bad ones. To the really good Trade 
Unionist, who cannot afford a 
year's subscription in advance, it 
certainly is a comfort to know that 
at all times he is in good standing 
with his brothers, and that the 
union is able to plan ahead and 
meet all its financial obligations 
because its revenue, part of which 
he supplies, is getting to Head 
Office regularly each week. Shift 
work of members and collectors 
has caused people in the past to 
be weeks in arrears many times 
per year. This will now not be 

Weeks of Rumour 

After many weeks of rumour it 
is now a fact our lads at Olympic 
are under the Rank banner. Sid 
Bremson, who has worked with 
both sets of Lab boys, and at the 
moment, as you all probably know, 
is working at the Rank Labora- 
tories, Denham, reports the follow- 

" The taking over of Olympic 
Kinematograph Laboratories by 
the Rank Organisation on 4th Feb- 
ruary brings the flood of rumours 
which have been circulating for the 
last month or two to an end. 

Olympic Labs have been more or 
less ' on the market ' for the last 
five years, and some four years 
ago Republic Pictures Corporation 


A If Cooper 

nearly bought them up, but the 
deal never went through. 

Leaving the controversial side of 
the Rank deal out of these notes 
altogether, may I, as an ' Ex- 
Olympian ', welcome the boys and 
girls of Olympic to the same pay 
roll, if not to the same building, 
and pass on to them the first-hand 
information given to both George 
Irons and myself by Mr. Bill Har- 
court, Managing Director of Rank 
Laboratories, in the hope of alle- 
viating any fears for the future 
that may be in their minds. 

Olympic is to be used exclusively 
for Black and White processing, 
all colour will be centred at Den- 
ham, leaving North Acton free to 
concentrate on their normal Black 
and White plus the additional foot- 
age that will be sent there from 
Denham. This includes 16mm. as 
well as 35mm. It is expected that 
output processing at North Acton 
will be so increased as to make it 
possible that we shall have to in- 
crease the staff; redundancy at 
Olympic is certainly not contem- 
plated. The jobs there are safe. 
Mr. Harcourt further told us that 
it was intended to have key per- 
sonnel from Olympic spend some 
time at Denham and vice-versa. 
In that way each will get to know 
and find out how the other operates. 

I understand that a letter ter- 
minating their employment by 
Paramount has been received by 
all personnel working at Olympic 
and Paramount take the oppor- 
tunity of thanking members for 
their long and loyal service, but 
make no reference to an ex gratia 
payment for that loyal service. It 
might well be that this great 
American company with all its 

frozen assets in this country could 
not itself unfreeze sufficiently to 
include in that letter some pittance 
for loss of office, good will or what- 

Let us hope that they will be 
more generous to our Paramount 
Newsreel members when, by put- 
ting out the final issue on 14th 
February, they will, after twenty- 
six years' loyal service, be putting 
themselves out of a job." 

The A.G.M. 

Laboratory members total some- 
thing like one-third of the member- 
ship of our Union. Here it comes 
lads, don't forget that 9th and 10th 
March is A.C.T.T.'s 24th Annual 
General Meeting, and a large — 
very large — number of us should 
make a date to be there. The 
laboratories are a really important 
section of this industry, some of us 
thing the most important. That 
may not be quite true, but to those 
of us in the section it is important 
that the incoming General Council 
shall know well in advance our 
requirements in the coming year. 
Only by attending the A.G.M. can 
you make them aware of your own 
point of view, and that we are a 
section made up of keen and reso- 
lute members. 

Remember, the laboratories over 
this last year or two have had a 
tendency to decrease rather than 
increase — getting together after 
the event is too late — we have got 
to find an answer to maintaining 
continued employment for us all 
now, and only by getting together 
as often as possible can the best 
methods and ideas be obtained. A 
virile and well-supported organisa- 
tion is by far the best weapon 
when meeting opposition to any 
schemes or ideas that an organisa- 
tion such as ours is trying to put 
into effect. 

Suspended Alibi 

A.C.T. Films latest completed 
production. Suspended Alibi, 
commences a full Odeon Cir- 
cuit release on 25th February. 



February 1957 

Letters to the Editor 


I should like to take up Vivian 
Milroy's estimation that Unions, or 
our Union, should not criticise TV 
programmes because " such mat- 
ters might be said to be outside the 
province of Trade Unionism ". 

My annoyance is not that unions 
should take up very earnestly the 
art of public relations, for that is 
what it is, but that our trade union 
movement doesn't even know the 
subject, and that to its detriment. 

As Vivian Milroy will agree, it's 
the trade union movement which 
protects and advances the real 
social and economic interests of 
the people. Yet on such public 
relations we are asked to mind our 
own business. 

Various American unions have 
shown their maturity when 
they express their organised be- 
liefs, not merely through simple 
press statements or even television, 
but through films, such as Brother- 
hood of Man (Automobile Workers' 
Union). The Japanese unions 
(N.U.T. & E.T.U.) have campaigned 
for their members and citizens 
alike, against the H-bomb tests by 
sponsoring and producing films on 
the subject. 

I hope my brief examples show 
that there is a principle of impor- 
tance at stake here, especially in 
these days when the offensive is 
against the basic rights of trade 
unionism, which at least I trust 
Vivian Milroy accepts. 

There are a growing number of 
people who would restrict the in- 
terests of Trade Unions to purely 
working conditions. 

As to whether the actual Press 
statement in question was correct 
or at fault I do not know. But I 
do agree that our General Council 
should issue such statements if it 
considers it in the interests of our 
members and the public. 

Yours sincerely, 

Lewis McLeod. 

Vivian Milroy in his article 
seems to forget that the film and 
I'V industries are more than just 
businesses — they arc arts as well. 

Whether they are healthy or not 
depends on artistic as well as on 
economic factors, and very often 
the two are linked. Surely, there- 

fore, it is very much the business 
of A.C.T. T. to be concerned about 
what its members help to produce 
for the cinema and cathode ray 
screens of the country. 

This argument is well illustrated 
by the case of the cinema news- 
reels, which in their presentation 
have for a number of years been 
extremely conservative (in the 
political sense of the word, too, 
incidentally); they are very old- 
fashioned in their choice of sub- 
ject and in their treatment of these 
subjects, and this has been one of 
the major reasons why cinemas are 

beginning to do without them. 
Therefore, for aesthetic reasons 
our newsreel and laboratory mem- 
bers are suffering economically. 

But I think there is a further 
point as well : there always seems 
to me to be very much more satis- 
faction in turning out a good and 
worthwhile product, whether it be 
newsreel, TV programme, feature 
or short, because both as indivi- 
duals and as Union members we 
like to feel proud of what we do. 

Yours faithfully, 

Christopher Brunei. 

General Council in Session 


General Secretary reported that 
the Manager of Kay Laboratories 
had been in touch with him re- 
garding the ban on the processing 
of Sportsmen) for the B.B.C. which 
had originated at Olympic. Sub- 
sequently Kay's had issued a press 
statement on the matter. Strong 
rumours of a take-over of Olympic 
Laboratories and Paramount News 
by the J. Arthur Rank Organisa- 
tion were reported, and in view of 
the problems created, not only in 
regard to our members at Olympic 
over the processing of Sportsview, 
but other problems which might 
arise including redundancy if the 
rumours proved correct, the Exe- 
cutive Committee authorised Head 
Office to take whatever action 
appeared necessary. 

It was also agreed that the 
Legislation Committee should con- 
sider at an early date the whole 
problem of the Rank Organisation 
in relation to the Monopolies Act. 
Subsequently an Organiser saw the 
Manager of Olympic Labs together 
with the Shop Steward when the 
changeover to the Rank Organisa- 
tion was confirmed (see page 27). 

cutive Committee also considered 
Paramount News, where the mem- 
bers have all been in the company's 
service for many years and most 
of them are near retirement age, 
although they are not covered by 
any pension scheme. It was agreed 
that the Acting General Secretary 
and the Organiser should press for 

an early meeting with the manage- 
ment to ascertain their intentions, 
and if the intention is to dispense 
with the services of any of our 
members we should press for some 
form of remuneration by the com- 
pany equivalent to what the mem- 
bers concerned would have obtained 
had a pension scheme been 

The Council was told that Para- 
mount refused to meet A.C.T.T. 
and discuss compensation for Para- 
mount News staff, and it was 
agreed to reply that it was our 
duty to protect our membership 
and we reserved the right to take 
any action in the matter; it was 
also agreed to prepare a case in 
conjunction with our newsreel 
members for a public campaign 
over Paramount's refusal to dis- 
cuss the problem with the Union. 

SPORTSVIEW. After considerable 
discussion of the situation on 
Sportsvieiv it was agreed that the 
material for this programme could 
go to any British laboratory pre- 
pared to pay the rates negotiated 
with A.C.T.T., instead of being sent 
abroad for processing. The 
Manager of Rank Laboratories, 
Denham, was reported as saying 
that as far as he could see, the 
take-over of Olympic would not re- 
sult in any redundancy, but he 
could not guarantee this. The 
Council instructed Head Office to 
seek guarantees for any members 
shifted from one lab to another. 

Steward, Bob Langdon, reported to 

February 1957 



the Council that the company had 
declared a 20 % redundancy with 
effect from the following week on 
the grounds of trade recession in 
the home and overseas markets. 
The A.C.T.T. and A.E.U. members 
in the factory had immediately de- 
clared an overtime ban (except for 
maintenance) and had passed a 
resolution saying that there should 
be a 4-day week in place of re- 
dundancy; the company had turned 
this down. Paddy Leech was in- 
structed to take up the matter 
immediately, and the Council re- 
solved to congratulate the B.A. 
Shop on its action to combat re- 
dundancy, to assure the members 
of the Council's support and to 
congratulate the Steward on his 
reporting of the matter. 

N.S.S. LABS. Bessie Bond reported 
that the company was being diffi- 
cult about operating the recent 
Laboratory increase. The manage- 
ment said they were in a different 
category from other laboratories 
who depend on outside customers 
to give them work. They existed 
entirely on their own and the lab. 
was running at a loss. They have 
offered 50% of the increase. The 
Council agreed that the Organiser 
should press for the payment of 
the full increase. 


Bert Craik reported on a letter 
received from the British Film 
Academy, requesting a meeting to 
consider the possibility of reviving 
a training scheme in the industry. 
After considerable discussion the 
E.C. agreed to appoint representa- 
tives to the meeting and to ask the 
Academy for copies of the paper 
which they have prepared. The 
representatives were mandated to 
make clear to the Academy repre- 
sentatives the various reservations 
A.C.T.T. has on the question of a 
training scheme. 

FILMS. A problem had arisen 
over non-synchronous sound effects 
for a 16mm. Kodachrome film, 
Caribou, being made for Priestman 
and Company Ltd. for non- 
theatrical use. The Shop Steward 
confirmed that the company had 
been experiencing undercutting by 
other firms, which are not mem- 
bers of the A.S.F.P. and do not 
operate the Shorts Agreement. On 
this particular film the clients in- 
sisted on sound effects of their 
cranes at work without being pre- 
pared to pay the price of the re- 
cording with an A.C.T.T. crew. 
However, Technical and Scientific 
went ahead on their clients' terms 

and now hoped that under all the 
circumstances their case would be 
given special consideration. The 
Shop Steward, Derek Knight, was 
in attendance at the Executive and 
made additional points, which he 
felt should be considered with 
some sympathy in view nf the good 
relations which existed with Tech- 
nical and Scientific and their good 
record to date as far as strict 
application of the Shorts Agree- 
ment is concerned. The Executive 
Committee agreed that: 

(a) The work should not be 
blacked on this occasion but 
the company should be given 
a firm warning that on no 
account would any such con- 
cession be made in future, 
unless the request for a con- 
cession is lodged with the 
Union before any contrac- 
tual arrangements with 
clients are entered into. 

(b) Those members who were 
aware of what was being; 
done and said nothing until 
their return from location 
should be reprimanded and 
reminded that they should 
notify Head Office im- 
mediately anything of this 
kind occurs unless they have 
been advised beforehand 
that such a departure from 
the provisions of the Shorts 
Agreement has been ap- 

(c) A letter of thanks should be 
sent to the Editor for his 
keen attention to the prin- 
ciple involved and to the 
Shop Steward for drawing 
our attention to the matter. 

MANAGEMENT. It was agreed 
that the recommendation of the 
Kodak members should be imple- 
mented and Head Office should 
request a meeting with the 

AFFILIATIONS. It was agreed 
to continue affiliation to the Film 
Industry Sports Association, the 
Film Industry Employees' Council 
and the National Federation of 
Professional Workers. It was also 
agreed to affiliate to the Man- 
chester and Salford Trades Council 
on the basis of 90 local members 
at the cost of 30/- per annum. 


It was agreed that Head Office 
should write to the A.S.F.P., re- 
questing an early meeting to dis- 
cuss some form of joint action, as 

suggested by the Shorts and Docu- 
mentary Section. 

memorandum had been drawn up 
by the A.S.F.P., following a nego- 
tiating meeting with them, which 
was considered by the E.C. It was 
agreed that it be referred to the 
Sound Section for its detailed com- 
ments as a matter of urgency, 
and then reported back to the E.C. 

TION. The Laboratories Com- 
mittee, having considered the take- 
over of Olympic Labs by the Rank 
Organisation, recommended the 
tabling by the General Council of 
an Emergency Resolution on the 
contraction of laboratories and on 
monopolies. This was agreed, and 
the Laboratories Committee was 
asked to prepare research material 
for the use of the Union. 

Craik and Charles Wheeler re- 
ported on meetings between 
A.C.T.T., E.T.U. and N.A.T.K.E. 
with the BFPA on such subjects 
as the Cinematograph Bill, con- 
ciliation to prevent stoppages and 
interruptions of production, enter- 
tainment tax, spread-over of pro- 
duction, a proposed Casualisation 
Fund for employees on the film pro- 
duction side of the industry, and 
the reduction in cinema atten- 
dances. The reports were endorsed 
with thanks to A.C.T.T.'s represen- 

Camera Hire 

(1) NEWMAN SINCLAIR— Mirror Shutter. 
All Cooke Lenses including Series 2., 
and Electric Motor Drive. (Available fully 
adapted for CINEMASCOPE if required.) 

(2) NEWMAN SINCLAIR— Mirror Shutter. 
Cooke Lenses and 24mm. Angineux Retro- 

(3) NEWMAN SINCLAIR— Model G. Al 1 
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Kingston Tubular and Vinten Light Gyro 


Metal construction, pneumatic tyres, drop- 
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FINchley I 595 



February 1957 

Did You Know ? 

" CincmaScopc installations have 
reached their saturation point prac- 
tically everywhere . . . 17,561 in the 
U.S. and Canada, and 21,792 over- 
seas." — Spyros Skouras (20th Cen- 
tury Fox President). 

British Chimneys Honoured 

Two Hungarian film makers, 
documentary producer Istvan Simar 
and cameraman Janos Badal, were 
in London recently to film in colour 
their State Song and Dance En- 

During their five-week visit they 
have also been shooting the usual 
London material of Big Ben, Hyde 
Park, Soho, etc. But while in Dover 
they became suddenly intrigued 
" by the uniformity of the houses 
with chimneys of so many different 
types ". So now British chimneys 
have been honoured on film in a 
future Hungarian " Chimney Re- 
view ". 

Also, it appears plans are afoot 
for a co-production. Producer Akos 
Rathonyi wants to make Zsigmond 
Moricz's novel " Sarany " using a 
cast of English, American and 
Hungarian actors. 

Attention, all screenwriters! 

Every national film industry is 
on the lookout for successful plays, 
scripts and budding new writers. 
This great need is showing itself 
in percentages. 

A recent analysis made by the 
N.F.F.C. on production costs re- 
veals that only 4.5 per cent is allo- 
cated for story and script. In 
Hollywood the figure is around 12 
to 15 per cent of the whole cost. 

Now I wonder why this is so? 
Could it be that our American 
Screenwriters' Union are better 
organised and generally are more 
on the ball? I gather that the 
screenwriter's rate of fees is 

approximately three times more 
than his British counterpart's. 

Also, I am told American writers 
have insisted on all credits on all 
forms of advertisements. 

I hope readers will hear replies 
on this score from the appropriate 

For H.P. Payers Only 

As H.P. is on the increase in this 
country and likewise short time 
and unemployment, I should like to 
pass on this tale from an American 
Trade Union journal : 

A young lady, several payments 
behind on her fur coat, received 
the following letter from the 
Finance Company : " What would 
your neighbours think if we found 
it necessary to come and repossess 
your fur coat?" 

A few days later the company 
received the following reply from 
the young lady : " I have taken up 
the matter with my neighbours as 
you suggested and they all think 
it would be a lousv trick ". 

Lewis McLeod 








February 1957 




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GjifT/e to British Film Makers 


Kear o/ Production: 1955. 

Studio: M.G.M. 

Laboratory : Technicolor. 

Producing Company: Warwick Film 
Productions Ltd. 

Executive Producer: Islin Auster. 

Producer: Max Varnel. 

Stars: Macdonald Carey. Rhonda 
Fleming, Eleanor Summerfield, Juma. 
Francis de Wolff. 

Directors: John Gilling, Michael For- 
long (2nd Unit). 

Scenarists: Islin Auster, John Gilling. 

Camera Department: Lighting Camera- 
men, Ted Moore, Fred Ford; Camera 
Operator, Ernie Day; 1st Camera 
Assistants (Focus), Peter Hall, Ceri 
Davies; Other Camera Assistants, 
Kelvin Pike, Neil Gemmell ; Second 
Camera Operator, Fred Ford. 

Sound Department: Recordist (Mixer), 
Gerry Turner; Sound Camera Opera- 
tor, Peter Day; Boom Operator, Derek 
Kavanagh; Other Assistant (Main- 
tenance), N. T. Stevenson; Dubbing 
Crew: M.G.M. Sound Crew. 

Art Department: Art Director. Elliott 

Editing Department: Supervising Edi- 
tor, Alan Osbiston; Editor, Jack 
Slade; Assembly Cutter, Mary Russell- 
Wood; 1st Assistant, Philip Barnikel ; 
Other Assistant, Alan Pattillo; Dub- 
bing Editors, David Elliott, Geoff 

Production Department: Production 
Manager and/or Unit Production 
Manager, Henry Geddes; 1st Assis- 
tant Director, Douglas Twiddy; 2nd 
Assistant Director, Rene Dupont; 3rd 
Assistant Director, Jackie Green; 
Continuity, Maisie Kelly; Production 
Secretary, Marguerite Green. 

Stills Department: Still Cameraman, 

Bert Cann. 
Special Processes: Cinemascope-East - 

Publicity Director: Euan Lloyd. 


Year of Production: 1956. 

Studio: Shepperton Studios. 

Laboratory: Humphries. 

Producing Company: Grenadier Pro- 
ductions Ltd. 

Producers: Frank Launder and Sidnev 

Associate Producer: Leslie Gilliat. 

Stars: Alastair Sim, George Cole, Terry 
Thomas, Jill Adams. 

Director: Robert Day. 

Scenarists: Sidney Gilliat. 

Camera Department: Lighting Camera 
man, Gerald Gibbs; Camera Operator, 
Alan Hume; 1st Camera Assistant 
(Focus), Godfrey Godar; Other 
Camera Assistant, Ian Muir. 

Sound Department: Recordist (Mixer), 
Buster Ambler; Sound Camera 
Operators, Harry Tate, Jimmy 
Dooley; Boom Operator, Ken Ritchie; 
Boom Assistant, Fred Peters; Other 
Assistant, Eric Vincent (Main- 
tenance) ; Dubbing Crew, Red Law. 
J. Aldred, B. Hopkins. 

Art Department: Art Director, Wilfred 
Shingleton; Assistant Art Director, 
John Hoesli (Set Dresser); Draughts- 
man, Frank Wilson; Dress Designer, 
Anna Duse. 

Editing Department: Editor, Bernard 
Gribble; 1st Assistant, Eric Brown; 
Other Assistant, Jeremy Saunders; 
Dubbing Editor, John Glen. 

Production Department: Production 
Manager and/or Unit Production 
Manager, John Pellatt ; 1st Assistant 
Director, Douglas Hermes; 2nd 
Assistant Director, Peter Price; 3rd 
Assistant Director, David Tringham; 
Continuity, Olga Brook; Production 
Secretary, Sheila O'Donnell. 

Stills Department: Still Cameraman, 
Norman Hargood. 

Special Processes: Scenic Artists, 
Basil Manning, Wally Veevers, 
George Samuels. 

Publicity Department: Publicity Direc- 
tors, Kenneth Green, Victor Betts. 


Year of Production : 1956. 

Studio: Shepperton Studios. 

Laboratory: Technicolor. 

Producing Company: George Minter 
Productions Ltd. 

Producer: J. G. Minter. 

Associate Producer: D. O'Dell. 

Stars: Terence Morgan. George Cole. 
Ted Heath, Mylene Nicole, Kathleen 
Harrison, James Hayter, Denis Lotus. 

Director: Val Guest. 

Scenarist: Val Guest. 

Camera Department: Lighting Camera- 
man, Wilkie Cooper; Camera Opera- 
tor, Alan Hume; 1st Camera Assis- 
tant (Focus), Godfrey Godet ; Other 
Camera Assistant, Ronnie Anscome : 
Second Camera Operator, Ernie 

Sound Department: Recordist (Mixer), 
Bert Ross; Sound Camera Operator, 
E. Webb; Boom Operator, Peter 
Dukelow; Dubbing Crew, Red Law, 
Peter Jones, Barbara Hopkins. 

Art Department: Art Director, Elvin 
Webb; Assistant Art Director, 
Maurice Fowler; Draughtsman, D. 
Woolland ; Dress Designer, Julie 

Editing Department: Editor, John 
Pomeroy; 1st Assistant, R. Copple- 
man ; Other Assistant, Alma Godfrey: 
Dubbing Editor, Chris Greenham. 

Production Department: Production 
Manager and /or Unit Production 
Manager: A. E. Brettell ; 1st Assis- 
tant Director, Gerry O'Hara; 2nd 
Assistant Director, Ted Sturgess; 3rd 
Assistant Director, John Kerrison ; 
Continuity, Phyllis Crocker; Produc- 
tion Secretary, Phyllis Townsend. 

Stills Department: Still Cameraman, 

Laurie Ridley. 
Special Processes: Wally Veevers (i/c 
Special Effects. Shepperton Special 
Effects Dept.— Matte— Painters). 
Publicity Department: Publicity Direc- 
tor, Pat O'Connor. 


Year of Production: 1956. 

Studio: Pinewood. 

Laboratory: Denham. 

Producing Company: The Rpnk 
Organisation Film Productions Ltd. 

Producer: George Brown. 

Production Controller: Arthur Alcott. 

Stars: John Gregson, Kathleen Ryan 
Jacqueline Ryan, Cyril Cusack, Noel 

Director: Rov Baker. 

Scenarists: Patrick Kirwan and Liani 

Additional Dialogue: Patrick Camp- 
bell and Catherine Cookson. 

Camera Department: Lighting Camera- 
man, Geoffrey Unsworth; Camera 
Operator, Jack Atcheler: 1st Camera 
Assistant (Focus), John Alcott 
Other Camera Assistants, M. Wilson. 

Sound Department: Recordist (Mixer), 
Geoffrey Daniels; Sound Camera 
Operator, C. Arnold; Boom Operator. 
Pat Wheeler; Boom Assistant, A. E. 
Carverhill; Dubbing Crew, Gordon K. 
McCallum, Ted Karnon, C. le Mes- 
surier; Music, Ted Drake. 

Art Department: Art Director, Jack 
Maxsted; Assistant Art Director 
(Set), Arthur Taksen; Draughtsmen. 
Harry Pottle (Chief), Peter Lamont, 
Bob Cartwright, Ramsay Short : 
Dress Designer, Eleanor Abbey. 

Editing Department: Editor, John 
Guthridge; Assembly Cutter, James 
Kelly; Other Assistants, Richard 
Woodworth, Maureen Howard; Dub- 
bing Editor, James Groom, (Asst.) 
Gareth Bogarde. 

Production Department: Production 
Manager, Roy Goddard; 1st Assistant 
Director, Bob Asher; 2nd Assistant 
Director, Harold Orton; 3rd Assis- 
tant Director, Peter Carey; Con- 
tinuity, Tilly Day; Production Secre- 
tary, Jean Tisdall. 

Stills Department: Still Cameraman 
Harry Gillard. 

Publicity Department: Unit Publicist. 
Bob Herrington. 


Year of Production: 1956. 

Studio: Pinewood. 
Laboratory: Technicolor. 

Producing Company: Rank Organisa- 
tion Film Productions Ltd. 

Producer: Vivian Cox. 

Stars: Michael Craig, Julia Arnall, 
Brenda De Banzie, David Kossof, 
Geoffrey Keen, Barbara Bates. 

Director: Guy Green. 

Scenarists: Robert Buckner, Bryan 

Camera Department: Lighting Camera- 
man, Harry Waxman ; Camera Opera- 
tor, Jim Bawden ; 1st Camera Assis- 
tant (Focus), Alec Mills; Other 
Camera Assistant : Ron Anscombe. 

Sound Department: Recordist (Mixer), 
Dudley Messenger; Sound Camera 
Operator, C. Arnold : Boom Operator, 
John Salter: Boom Assistant, A. E. 
Carverhill; Dubbing Crew, Gordon K. 
McCallum, W. Daniels, C. le Mes- 
surier; Music, Ted Drake. 

Art Department: Art Director, A. 
Vetchinsky; Asst. Art Director (Set). 
Arthur Taksen; Draughtsmen, Lionel 
Couch (Chief), Terry Marsh, Charlie 
Bishop; Dress Designer, Julie Harris. 

Editing Department: Editor, Sydney 
Hayers; Assembly Cutter, Roy Fry; 
Other Assistant, Tristram "Cones; 
Dubbing Editor, Archie Ludski; 
Assistant, Chris Lancaster. 

Production Department: Production 
Manager. H. R. R. Attwooll; 1st 
Assistant Director, Bob Asher; 2nd 
Assistant Director, John Oldknow; 
3rd Assistant Director, Peter Carey; 
Continuity, Tilly Day, Susan Dyson; 
Production Secretary, Teresa Bolland. 

Stills Department: Still Cameraman, 
Harry Gillard. 

Special Processes: W. Warrington, 
F. George, S. Pearson, W. Marshall. 

Publicity Director: George Mason. 

March 1951 



of Production: 1956. 

Studio: British Lion Studios, Shepper- 

Laboratory: Humphries. 

Producing Company : Remus Films Ltd. 

Producer: Jack Clayton. 

Production Supervisor: Raymond An- 

Stars: Ronald Shiner, Brian Rix, Sid- 
ney James. 

Director: Maurice Elvey. 

Scenarist: John Roy Chapman. 

Cat era Department: Lighting Camera- 
man, Arthur Grant; Camera Operator, 
Peter Newbrook; 1st Camera Assistant 
(Focus), Alan Hall; Other Camera 
Assistant (Clapper/Loader), Ronald 
Drinkwater; Lighting Cameraman 
(2nd Unit), Freddie Francis. 

Sound Department: Recordist (Mixer), 
Peter Handford; Sound Camera 
Operator, Jack Smart; Boom Opera- 
tor, Bill Cook; Dubbing Crew, Red 
Law, Bob Jones, Barbara Hopkins; 
Sound Maintenance. C. Hunt. 

Art Department: Art Director, Norman 
Arnold; Assistant Art Director and 
Draughtsman, W. Hutchinson. 

Editing Department: Supervising 

Editor, Ralph Kemplen; Editor, Gerry 
Hambling; 1st Assistant, Tony Gibbs; 
Other Assistant, Norma Bremson. 

Production Department: Production 
Manager, Robert Sterne; 1st Assistant 
Director, Jack Causey; 2nd Assistant 
Director, David Bracknell; 3rd Assis- 
tant Director, Otto Plaschkes; Con- 
tinuity, Doreen Francis; Production 
Secretary, Doris Prince. 

Stills Department: Still Cameraman, 
Eric Gray. 

Special Processes: Brian Langley, Reg 
Johnson (Travelling Matte). 

Publicity Director: Lilana Wilkie. 


Year of Production: 1956. 

Studio: Associated British Elstree 

Laboratory: Denham Laboratory. 

Producing Company: Forth Films Ltd. 

Producer: H. G. Inglis. 

Stars: Ronald Shiner, Ted Ray, Greta 
Gynt, Robertson Hare. 

Director: Gilbert Gunn. 

Sci narists: Talbot Rothwell, Gilbert 

Camera Department: Lighting Camera- 
man, Gilbert Taylor; Camera Opera- 
tor, Val Stewart; 1st Camera Assis- 
tant (Focus), Peter Hendry; Other 
Camera Assistants. T. Cole, K. Pike. 
M. Arnold. 

.Sound Department: Recordist (Mixer). 
A. Bradburn; Sound Camera Opera- 
tors, L. Grimmell. J. Young; Boom 
Operator, D. Macfarlane; Boom Assis- 
tant, 1'. Nicholson: Other Assistant. 
S. Conley; Dubbing Crew, Len 
Shilton, D. Grimmell, L. Abbott, 
J. Young, M. Bradbury. 

Art Department : Art Director, Uol.oM 
Jones ; Draughtsmen, J. Jones, G. 
Kirhardson; Dress Designer, Anna 

Editing Department: Editor, E. B. 
Jarvis; 1st Assistant, Miss J. New- 
son; Other Assistant, Miss I. Ibbet- 
son; Dubbing Editor, Miss Phil 

Production Department: Production 
Manager and /or Unit Production 
Manager, Gerry Mitchell; 1st Assis 
tant Director. " Frederic Goode; 2nd 
Assistant Director, Jeremy Summers; 
3rd Assistant Director, Michai I 
Profit; Continuity, Pam Gayler; Pro- 
duction Secretary, J. Parcell. 

Stills Department: Still Cameraman. 
R. Pilgrim. 

Publicity Department: Publicity Direc- 
tor, Jean Garioch. 


Year of Production: 1955/56. 

Studio: M.G.M. Studios. Elstree. 

Laboratory: Technicolor. 

Producing Company: Warwick Film 
Productions Ltd. 

Producer: Phil C. Samuel. 

Stars: Victor Mature. Anita Ekberg, 
Michael Wilding. 

Director: Terence Young. 

Associate Directors: Yakima Cannut. 
John Gilling, Richard Maibaum. 

Camera Department: Lighting Camera- 
men, John Wilcox, Ted Moore, Cyril 
Knowles; Camera Operators, Denys 
Coope, Ernest Day, Ray Sturgess; 
1st Camera Assistants (Focus), Ronnie 
Maasz, Alan Hall; Other Camera 
Assistants, Peter Hall, Cere Davies. 
Alf Hicks, Dickie Robinson, Alex 
Thompson, Roy Ford. 

Sound Department: Recordists (Mixer), 
Peter Davies, Gerry Turner; Sound 
Camera Operators, Al Thorne, Peter 
Day; Boom Operators, Jim Whiting, 
Derek Kavanagh; Boom Assistant, 
Jefrey Bernard; Other Assistants 
(Maintenance), E. Stoneham, Brian 
Hunter, N. T. Stephenson; Dubbing 
Crew, J. B. Smith, John Bramall: 
Camera Maintenance, Ron Ford. 

Art Department: Art Directors, John 
Box, Bill Andrews; Assistant Art 
Director, Sid Cain; Draughtsmen, 
Wallis Smith, Alec Gray, Kenneth 
Tait; Dress Designer, Phyllis Dalton. 

Editing Department: Supervising 

Editor, Alan Osbiston; Editor, Bert 
Rule; Assembly Cutter, Geoffrey 
Botterill; 1st Assistant, Ivor Selwyn; 
Other Assistant, Peter Elliott; Dub- 
bing Editors, Don Saunders, Malcolm 
Cooke; Dubbing Assistant, Ivor Sel- 
wyn (after final cut). 

Production Department: Production 
Managers and/or Unit Production 
Managers, John Palmer, Henry Ged- 
des; 1st Assistant Directors, Jack 
Martin, Bluey Hill, Frank Hollands. 
Robert Lynn; 2nd Assistant Directors. 
Tom Sachs, Bert Pearl, Dennis Hall: 
3rd Assistant Directors, Peter Len- 
nard, John Pitcher, Joe Marks; 
Location Managers, John Pellatt, 
Robert Navarro, Douglas Twiddy: 
Continuity, Pamela Davies, Kav 
Rawlings; Production Secretaries. 
Beti Parry, Mary Timewell. 

Stills Department: Still Cameraman. 
Bert Cann. 

Special Processes: Special Effects 
Director, Jack Erickson; Special 
Effects Supervisor, Cliff Richardson : 
Travelling Mattes. Tommy Howard. 

Public it ii Department: Publicity Direc- 
tor, Anthony Howard. 

Casting: Nora Roberts. 


Year of Production: 1955/56. 

Studio: Pinewood Studios, Iver Heath. 

Laboratory: Technicolor. 

Producing Company : Remus Films Ltd. 

Producer: Betty E. Box. 

Stars: Bob Hope. Katherine Hepburn. 

Director: Ralph Thomas. 

Camera Department : Lighting Camera- 
man, Ernest Steward; Camera Opera- 
tor. H. A. R. Thomson; 1st Camera 
Assistant (Focus), Steve Clayton: 
Other Camera Assistant (Loader). 
Jack Hickson. 

Sound Department: Recordist (Mixer), 
John Mitchell: Sound Camera Opera 
tor, R. Butcher; Boom Operator. 
J. W. N. Daniel; Boom Assistant. 
R. Charman : Dubbing Crew. G K. 
McCallum, W. Daniels, C. Le Mes- 

Art Department: Art Director, Carmen 

Dillon; Draughtsman, Ernest Archer; 
Dress Designer, Yvonne Caffin. 

Editing Department: Editor, Frederick 
Wilson; 1st Assistant, John Cooke; 
Other Assistants, Geoffrey Fry, Paula 
Devenish; Dubbing Editor, Roger 

Production Department: Production 
Manager and /or Unit Production 
Manager, R. Dennis Holt; 1st Assis- 
tant Director, James H. Ware ; 2nd 
Assistant Director, Bert Batt : 3rd 
Assistant Director. Pat Clayton ; Con- 
tinuity, Joan Davis; Assistant Con- 
tinuity, Penny Daniels; Production 
Secretary, Jean Forbes. 

Stills Department: Still Cameraman, 
Norman Gryspeerdt. 

Publicity Director: George Mason. 


Year of Production: 1956. 

Studio: Pinewood. 

Laboratory: Rank Laboratories (Den- 
ham) Limited. 

Producing Company: Rank Organisa- 
tion Film Production Limited. 

Producer: Betty E. Box. 

Production Controller: Arthur Alcott. 

Stars: Anthony Steele, Odile Versois, 
James Robertson Justice, Stanley 

Director: Ralph Thomas. 

Scenarist: Robin Estridge. 

Camera Department : Lighting Camera- 
man. Ernest Steward; Camera Opera- 
tor, H. A. R. Thomson; 1st Camera 
Assistants (Focus), John Morgan, 
J. Alcott (Location); Other Camera 
Assistant, Joe Levy. 

Sound Department: Recordist (Mixer), 
O. C. Stevens; Sound Camera Opera- 
tor, E. J. Karnon ; Boom Operator, 
Gus Lloyd; Boom Assistant, Ken 
Reynolds: Dubbing Crew, Gordon K. 
McCallum, W. Daniels, C. Le Mes- 
surier; Music, Ted Drake; Main- 
tenance (Location), Peter Glover. 

Art Department: Art Director, Carmen 
Dillon; Assistant Art Director (Set), 
Dario Simoni; Draughtsman (Chief), 
Ernie Archer; Dress Designer, 
Anthony Mendleson. 

Editing Department; Editor, Freddie 
Wilson ; Associate Editor, Roger 
Cherrill ; 1st Assistants, Geoff. Fry. 
Stan Fiferman; Other Assistant, 
Paula Devenish; Dubbing Editors, 
Arthur Ridout, Eric Boyd-Perkins; 
Dubbing Assistant, Graham Harris. 

Production Department: Production 
Manager, Denis Holt; 1st Assistant 
Director, Bert Batt: 2nd Assistant 
Director, Maurice Gibson: 3rd Assis- 
tant Director, Joe Marks; Location 
Manager, Jimmy Ware; Continuity. 
Gladys Goldsmith; Production Sec- 
retary. Pauline Kernick. 

Stills Department: Still Cameraman. 

Ian .leaves 

Special Processes : W. Warrington. 

Bert Marshall. Frank George. 
Publicity Department: Unit Publicist. 

Gerry Lewis. 



The credits for these two films should 
have read : Second Unit Cameraman — 
Ian Struthers (not Second Camera 


The credits for this film should have 
read: Dubbing Crew — R. Colwell, and 
not R. Coldw.-ll. 

March 1957 






PROBLEMS arising from the rapid and ever- 
continuing growth of Television, concern 
over trends toward monopoly in the film industry 
and a serious preoccupation with the mainten- 
ance of the standards of British film production 
were among the outstanding features of the 
Annual General Meeting. 

In particular the debate on TV organisation 
was noteworthy for a number of reasons. In 
the first place this was the first A.G.M. at which 
there was a substantial representation of 
members working in the Television field and it 
became evident from the outset that they are 
determined to see that trade unionism becomes 
as strong in this field as it is already in the realm 
of film production. As the President stressed in 
his opening address, it is certain that in the 
years ahead there is going to be some shift of 
emphasis in the work of A.C.T.T. 

As was natural in a debate on this subject 
there were criticisms of what has already been 
done and of some of the things that have not 
yet been done. But the point that emerged 
strongly from the discussions was that there are 
no fundamental differences between our Film 
and Television members. At bedrock the prob- 
lems of workers in Television and workers in 
Film are the same. We are, in fact, all members 
of one union, we are all working in one big 
industry, the entertainment industry, and it was 
generally realised and accepted as a matter of 
course by all speakers that only in unity can we 
march forward together. 

The Television debate will leave the incoming 
General Council in no doubt whatever of the view 
of members and should serve materially to 
strengthen their hands in the work that lies 
ahead both of organisation and of negotiation 
for agreements on the Television side of the 
industry. Our TV members, too, will be in no 
doubt that in whatever struggles lie before them 
they can count on the understanding and on the 
support of their colleagues working in the film 
studios and the laboratories. 

The solidarity of members in widely different 
sections and branches was shown once again 

when the Meeting came to consider, and to pass 
with acclaim, an emergency resolution tabled by 
the General Council reflecting the concern of 
members in the Laboratories and working on 
the Newsreels at the growth of monopoly ten- 
dencies in the industry. The disappearance of 
newsreels and the swallowing up of laboratories 
was most clearly felt to be a matter for con- 
tinual vigilance for all members of the Union. 
The General Council will have this question con- 
tinually in its mind during the coming year. 

On the question of promoting the highest tech- 
nical and artistic standards in British film pro- 
duction there was some very lively debate in 
which it was heartening to hear a number of 
younger members — younger, that is, in years, 
though by no means necessarily in period of 
membership — making important contributions to 
the discussion. 

Once again, as there must be in every Annual 
General Meeting. if it is hot to be clogged by 
complacency, there were differences of opinion, 
in this case not so much on objects as on the 
best methods of achieving them, and in this 
particular debate the eloquence and sincerity of 
the movers and supporters of the resolution gave 
them the distinction of defeating the General 
Council by a narrow margin. 

The keynote of the discussions throughout the 
A.G.M. as a whole was the determination of all 
members, whatever differences of view there 
might be between them on individual points, to go 
forward in 1957 to consolidate and strengthen 
the Union's position in every field and to protect 
the living standards of the workers in the in- 
dustry against any attacks whether by individual 
employers or groups of employers, or arising 
from legislation by the Government itself. 



Editorial Office: 

2 SOHO SQUARE, W.l (GERrard 8506) 

Advertisement Office: 

5 & 6 RED LION SQ., W.C.I (HOLborn 4972) 



March 1957 

TV7ITH the A.G.M. over and the 
" dust of controversy, tempor- 
arily at least, settling, it is happy 
to recall the personalities and the 
human side of the meeting- and to 
forget for a week or two whether 
this or that amendment won or 
lost the day. 

The real highlight for everyone 
came when George Elvin made his 
entrance, looking and sounding in 
the best of health and spirits. It is 
to be hoped that it will not be 
long now before his recovery is 
complete and permanent. 

New Faces 

There will be several new faces 
on the Executive Committee this 
year. Bill Whittimore comes in to 
reinforce his Laboratory colleagues. 
Bill is our steward at George 
Humphries and has represented the 
Union on many committees and at 
many conferences. 

Walter Lassaly and Lindsay 
Anderson are particularly well 
known on the short film side — 
Walter particularly receiving high 
tribute for his photography on The 
Girl in Black, the Greek film cur- 
rently showing at the Curzon. 
Lindsay Anderson — occasional film 
critic of the " New Statesman "- 
had one of the films he directed, 
O Dreamland, in the brief Free 
Cinema season at the National 
Film Theatre last year. 

Derek Twist, the director, of 
course needs little introduction to 
members. He has played a leading 
part in Union affairs, particularly 
in the Producers-Directors' Section, 
for many years. 

This year is the first in the 
Union's history that Television has 
had any specific representation of 
its own — Desmond Davis becomes 
the first TV Vice-President. Tony 
Shine, our Associated Rediffusion 
shop steward, was elected to the 
Commercial Television seat. Tony 
has been one of the Union's leading 
negotiators on the Programme 
Contractors' Agreement (and will 
be for many months to come!). 
From the B.B.C. comes Harold 
Clayton, a director of long stand- 
ing, and for the past year Chair- 
man of the TV Producers-Directors' 

Meetings and meetings and . . . 

A thought for those stalwarts 
who have served on the General 
Council and Executive Committee 
for many years. One often won- 
ders, as a cross is cheerfully put by 
a name, if it is appreciated what a 
commitment election can be. At 
least one evening meeting a week 
(E.C. or Gen. Council) — a section 
meeting once a month — that is the 
bare minimum. But a week never 
passes without an additional com- 
mittee — be it legislation, feature, 
shorts or one of the negotiating 
committees, A.C.T. Films, or Jour- 
nal. In February three E.C. mem- 
bers spent three Saturdays and a 
Sunday poring over the clauses of 
the TV draft agreement. Consider 
that a fair proportion of the E.C. 
are shop stewards as well, and you 
have some idea of the time, labour 
and responsibility involved in being 
a voluntary official. And I have 
probably forgotten a whole legion 
of duties expected of an Executive 

Golden Rule 

" Newsweek " has an interesting 
article on Dave Beck and Jimmy 
Hoffa, the two heads of the U.S. 
Teamster's Union 
— rough equiva- 
lent of our Trans- 
port and General 
Workers' Union 
( and the largest 
union in the 
U.S.A.)— Beckhas 
a $50,000 home 
and from all ac- 
counts has been a 
tough customer 
since his child- 
hood. He once an- 
nounced that several thousand of 
his members were taking ju-jitsu 
lessons "for their health". His No. 2, 
Jimmy Hoffa, it seems, is an even 
rougher, tougher customer. He is 
reputed to have said once, " I was 
hit so many times with clubs, 
sticks and brass knuckle-dusters 
I can't even remember where the 
bruises are." According to " News- 
week " Hoffa's own version of the 
Golden Rule, learned during a 
tough childhood, is " Do unto 
others — first." 

Leisurely . . . ? 

I'm no expert on the Russian 
film industry, but I was struck by 
an article in the current issue of 
" Soviet Union " which described 
the making of Shokolov's Quit t 
Flows the Don. Whatever other 
worries the Russian producers may 
have, a tight schedule doesn't seem 
to be one of them. Interviewed on 
location, producer Sergie Gerasi- 
mov said, " We shall spend all the 
winter and spring on the Don, then 
return to Moscow for the studio 
shooting. In summer we plan to 
make a fresh expedition to the Don 
region." A nice location ! 

Stop-press . . .! 

Head Office found itself inundated 
with trunk-calls from Manchester 
one afternoon a couple of weeks 
ago. The press had heard there 
was to a dramatic " one-minute 
strike " in Granada Television. 
Our Granada shop 
steward Gavin Wad- 
dell took the brunt 
of the press chase. 
When all was said 
and done the press 
had picked up the 
conversation of an 
enthusiastic member 
with ideas about 
what should happen 
if the Programme 
Contractors would 
not come to terms 
with the Union on a 
national agreement. 
Strike or no strike, the Manchester 
press now have a lively interest in 
the local A.C.T.T. Granada is one 
of our best organised Television 
shops, and is already actively nego- 
tiating with the management on a 
wide range of issues. A large dele- 
gation came from Manchester to 
the A.G.M. 

Thank You, Mr. Preminger 

Our grateful thanks go to Mr. 
Otto Preminger who has gener- 
ouslv agreed to place the proceeds 
of the British Premiere of his pro- 
duction of St. Joan at the disposal 
of the Benevolent Funds of 
A.C.T.T., E.T.U. and N.A.T.K.E. 


A.C.T.T. badges and brooches can 
be obtained from Head Office. 
Badges 2/-, brooches 2/4, post free. 

March 1957 



Shorts & Documentary 

Steve Cox Writes : 

The latest of our ' Get-together" 
evenings on "The Films We Make" 
was held on Tuesday, February 
19th at the Mezzanine Cinema, 
Shell Mex House. Once again it 
proved a successful and well- 
supported venture. Three films 
were shown, all made for theatri- 
cal distribution. 

The first film, Do You Remem- 
ber, sponsored by the British 
Transport Commission, was intro- 
duced by Director Tony Thompson. 

Designed for general audiences 
and employees of London Trans- 
port, it explained, in a very light- 
hearted manner, the workings of 
the Lost Property Dept. of the 

The second film, Pit Incident, 
sponsored by the Coal Board and 
introduced by Alun Falconer, was 
a theatrical version of a longer 
training film, made by the Coal 
Board's Safety Branch, based on an 
actual pit fire. 

The third film. Foothold in 
Antarctica, sponsored by the Bri- 
tish Petroleum Company, was 
made by World Wide Pictures, and 
introduced by Director-Camera- 
man Derek Williams. This was a 
colour film, about 25 r r of it " blow- 
up " from Kodachrome, the rest 
in Eastmancolour, showing the 
first journey of the Commonwealth 
Trans-Antarctic Expedition led by 
Dr. Vivian Fuchs to set up its 
Base in the Weddell Sea. 

Ideas on Technique 

In the course of the discussion 
that followed the showing of the 
films some interesting ideas on 
technique came up. Tony Thomp- 
son explained that his film was in- 
tended to be of a humorous 
nature, and that the personnel of 
the Lost Property Office were very 
helpful and co-operative. Someone 
suggested that the film gave the 
impression that we could now lose 
things more confidently. 

Alun Falconer explained how the 
" Incident " in the mining film was 
rigged and how the miners them- 
selves thought that the "fire squad" 
took everything too calmly. 

Derek Williams said he thought 
films came into two categories : 
" films that you control and films 
that control you." Foothold in 
Antarctica came in the second 
category, because one " shot " as 
one went and knocked it into shape 

Lab Topics 


A If Cooper 

The A.G.M. again gave many of 
our members an opportunity to 
chat with old friends who, owing to 
various changes of jobs, do not 
meet in the course of the year. 
This year I felt that apart from 
the hardy annuals many fresh 
faces appeared and those wearing 
a television hat certainly knew 
why they came and just what they 
require from their Union and their 
employers in the coming year. We 
in the Laboratories certainly wish 
them every success and support. 

The problem worrying the labs — 
the growth of monopoly control in 
the industry — had a very good 
hearing at the meeting, and the 
emergency resolution instructing 
the new General Council to watch 
and combat this problem was adop- 
ted in full. 


The problem of Trade Union 
recognition by Kodak Limited 
again came in for some very hard 
words and the membership gave 
everybody to understand that it 
takes a very bad view of American 
firms trading in this country and 
giving the unions the brush-off, 
and most certainly expects the 
next Annual Report to show a 
marked improvement in this situa- 
tion, in fact, complete recognition 
of A.C.T.T. by Kodak. 

I have often wondered why firms 
that are up against trade unions 
are not automatically boycotted by 
all workers up and down the 
country. Most workers are mem- 
bers of trade unions and a little 
personal effort by each of us 
against these companies would 
have a very good effect. 

George Plays Truant 

To those members who did not 
attend the A.G.M. let me say that 
if they had the impression it would 
be dull owing to the absence of 
our General Secretary they were 
very wrong because, apart from 
the very able way Bert Craik filled 
the breach, George Elvin was able 
to play truant from hospital and 
spend a few hours with us during 
Sunday, and indeed was up on his 
feet on a couple of occasions lead- 
ing forth as only George can. The 
fact that George was able to attend 
this meeting is a sign he is on the 
right road to good health, a fact 
that the whole membership is very 
thankful for. 

To all Laboratory Shop Stewards: 
Will you please start right away 
sending in your reports for inclu- 
sion in the April issue of the 
Journal. Thanks. 

afterwards. One of the draw-backs 
of this type of film was that the 
director did not see his rushes. 

Must Persuade Sponsors 

The general feeling at the end of 
the discussion was that sponsors 
must be persuaded into broader 
and better films and that producers 
with " guts " were needed to put 
the true points over. 

It is clear from the interest 
shown at the meetings that there is 
a real demand for them, so please 
come along to the next one with 
your idea as to the type of show 

you would like, and let the Com- 
mittee know what it is. 

I would like to thank Dennis 
Segaller for his assistance in com- 
piling this report. 

Now for some news, Norman 
Hemsley tells me that Cameraman 
Norman Johnson, and Dickie Lorri- 
more were leaving for New Guinea 
on March 13th on the Whispering 
Giant to shoot some material for 
the British Petroleum Company. 
They hoped to spend one night in 
Sydney on the way. I understand 
that Norman was taking a New- 
man and a spare spring. I wasn't 
told if he was taking any film! 



March 1957 


President's Speech 

THE growth of Television and the 
shift in emphasis that this 
would entail in the future work of 
A.C.T.T. were stressed by the 
President in his address opening 
the Twenty-fourth Annual General 
Meeting, which was held at the 
Beaver Hall, Garlick Hill, on 
March 9th and 10th. 

Until now the production of films 
for showing in cinemas had been 
our main preoccupation, the Presi- 
dent said. 

The recent figures of over 6i 
million television licence-holders in 
the United Kingdom showed the 
rapid growth of what the film die- 
hards still called a competitor but 
which we, with members operating 
in both fields, should and must 
call an ally. 

" I hope," the President con- 
tinued, " that instead of continuing 
to snarl at each other cinema and 
television will get together and see 
how they can be complementary. I 
realise many headaches will have 
to be endured meanwhile. 

" Our friends the musicians will 
recall how it was said the radio 
would kill the demand for the live 
orchestra. But the result has in 
l':irt been a stimulus. I believe that 
with wisdom on both sides the 
same beneficial results can be 
achieved in the effect of the growth 
of television on cinema going." 

Referring to the responsibilities 
which Television entailed, the 
President said : " Many of us, and 
indeed our Union officially, whilst 
welcoming the employment which 
independent television provides, 
were highly critical of the Govern- 
ment policy which established 
alternative programmes to the 
B.B.C. in their present form. 

" Experience to date has obliged 
us to pinpoint the almost com- 
plete failure of the Programme 
Contractors to fulfil their obliga- 
tions to put out a balanced pro- 
gramme, and we are alarmed at 
the generally low standard and 
trivial content of independent tele- 
vision. Money has been spent 
mainly on those types of pro- 
gramme calculated to attract a 
majority audience, which we fore- 
saw was bound to happen if adver- 
tisers had to be relied upon to pay 
for the programmes. 

Ever-decreasing Quality 

" As a statement recently issued 
by the General Council said, wo, 
representing the creative workers 
in this field, are of the strong 
opinion that immediate steps 
should be taken to stem the ten- 
dency towards an ever decreasing 
quality and its consequent effect on 
public taste, and that the enormous 
power of commercial television 
should not merely be used for 
frivolous entertainment." 

Turning from Television to the 
Government's Cinematograph Films 

Bill now before Parliament, the 
President said : " Let me say right 
away that we welcome the Bill 
because it will preserve and 
strengthen British film production. 
But it has a number of short- 

Shortcomings of Bill 

Whilst it was good that the Bri- 
tish Film Production Fund had 
been put on a compulsory basis, 
the method of deciding each year's 
amount would hamper and not en- 
courage production. The annual 
levy might be anywhere between 
£2 million and £5 million. There 
was no indication as to where be- 
tween these two extremes the 
actual figure each year would fall. 
The low figure was clearly inade- 
quate and the top figure, although 
an improvement on the present 
level, was only somewhere near 
the mark of the industry's needs 
if production remained at its pre- 
sent level and cost. 

One of the shortcomings of the 
present voluntary scheme, which 
was repeated in the new Bill, was 
that it tended to restrict rather 
than increase production because 
the Fund was a fixed figure and 
therefore the greater the number 
of films produced, the less was the 
levy available to the producer of 
each film. The President hoped 
that during the passage of the Bill 
through Parliament there would be 
clarification as to how the amount 
of the Fund was to be ascertained 

March 1957 




each year and also that the size of 
the Fund each year would be suffi- 
cient to ensure that the producer 
of all but the unfortunate flop will 
recover his production costs. 

The question of advance notice 
as to the size of the Fund for each 
ensuing year was also important if 
production was to be properly 

The Quota Act 

We were unanimous in welcom- 
ing the provisions in the Bill for 
keeping the National Film Finance 
Corporation alive and providing 
for the Quota Act to run for a 
further ten years, but we were 
equally unanimous in condemning 
the intention of the Government to 
let the Quota Act continue un- 
changed in substance. 

All sections of the industry had 
numerous points to put forward 
for improving the Act and some of 
them were of vital importance if 
the protection of the next ten years 
is to do the job it is intended to do. 

" I am therefore glad that fol- 
lowing pressure from the unions 
and producers we shall now have 
an opportunity to put forward 
amendments for consideration. But 
it is regrettable that it is the Gov- 
ernment's intention that the Bill 
should go through unamended in 
substance and we have to wait till 
an unnamed future date for amend- 
ing legislation to the Quota Act." 

There was developing, quite 
legally under the wording of the 
present Act, a position whereby 
pictures were made for British 

Quota which scarcely employed 
anybody from the United Kingdom. 
Films made under the stimulus of 
a United Kingdom Act of Parlia- 
ment should employ predominantly 
United Kingdom labour and be 
processed in United Kingdom 
laboratories. Therefore a new defi- 
nition of a British film was one of 
the main amendments we require. 

Whole Basis Wrong 

We also wanted an abolition of 
the position of our films being a 
junior partner to American films. 
The whole basis of the present Act 
was wrong whereby we were 
graciously permitted to have shown 
in British cinemas a relatively 
small number of films, the actual 
number of which rose or fell 
according to the number of Ameri- 
can films shown. Let us start on 
the assumption of British films be- 
ing the dominating factor in a 
British market, the foreign films 
shown being a stipulated quota 
based on our own product. 

We wanted, too, authority for 
the State to acquire a circuit of 
cinemas equal in size and booking 
power to the present main cir- 
cuits. A third circuit would ensure 
the fair distribution and showing 
of independent productions. 

The President welcomed the in- 
itiative of Mr. John Davis in pro- 
posing the meetings now being 
held between the British Film Pro- 
ducers' Association and N.A.T.K.E., 
E.T.U. and A.C.T.T. In the past, 
efforts to discuss industry prob- 
lems, other than salaries and work- 

ing conditions, on such a joint 
basis had petered out in failure. 
This new effort started off by an 
appreciation that the interests of 
producers and employees were 
either identical on a number of 
key issues or at least so close to 
each other as to make co-operation 
possible. Some of the matters 
which the President touched on had 
been covered in these discussions 
and he was sure that if these talks 
continued in the spirit in which 
they have been started nothing but 
good could come from them. But 
at the same time neither side must 
expect that because there were 
these talks on common ground, one 
side or the other would be expected 
to soft-pedal on legitimate claims 
in other directions. 

International Federation 

One of the disappointments of 
the post-war world had been the 
failure to establish any inter- 
national federation of film techni- 
cians. We had always maintained 
friendly relations with technicians 
of other countries and, indeed, 
there had been some extension in 
our contacts during the past year. 
But the split in the international 
Trade Union Movement had, if not 
entirely responsible, been a main 
obstacle in bringing technicians of 
all countries into close association. 
Since the Annual Report was pre- 
pared A.C.T.T. had received an in- 
vitation to attend a conference con- 
vened by the International Con- 
federation of Free Trade Unions to 

(Continued on page 40) 



March 1957 



consider once again the establish- 
ment of an International Federa- 
tion of Entertainment Workers. In 
principle we naturally welcomed 
the move but the General Council 
had reaffirmed its policy that 
A.C.T.T. could only associate with 
any such federation provided it was 
of an all-embracing character. In 
the same way as film technicians 
joined our union whatever their 
personal politics so we demanded 
the right to co-operate inter- 
nationally with the film workers 
of all other countries whatever 
their personal or their parent 
organisation's politics. 

" Our friends the actors and 
musicians are members of inter- 
national federations operating 
under this principle. We support 
them and will not join any federa- 
tion which rules to the contrary. 
We want to be equally friendly and 
co-operative with film workers of 
America, the Soviet Union, West- 
ern and Eastern Europe and 
throughout the world, and whilst 
there are big political differences 
between the Trade Union centres 
in these countries, we hold they 
should not be carried down to tech- 
nical and professional level. There 
is enough division in the world 
without film technicians refusing 
to speak to film technicians." 

" I doubt if the Government will 
any longer try to talk the jargon 
of wage restraint, but even if it 
still feels so inclined it could well 
save its breath as the entire British 
Trade Union Movement has made 
clear that it is not going to stand 

by and see the standard of living 
of its members deteriorate. I know 
you wholeheartedly endorse this 
determination and the incoming 
General Council will not be back- 
ward in putting forward the neces- 
sary demands." 


George Elvin, out of hospital for a few hours, chats with 

the President and Stephen Swingler 

Hectic Year Ahead 

Matters had been relatively quiet 
on the negotiating front during the 
past year but it seemed certain 
that this year would be hectic. 
" The Government's policy," the 
President said, " makes wage de- 
mands inevitable. The higher 
rents, as a result of the Rent Bill, 
the increases in the cost of school 
dinners and children's milk, the in- 
creased insurance contributions and 
higher prescription charges, and 
the whole pattern of Government 
policy will impose burdens on our 
members and their families which 
will make wage demands inevit- 
able. Yet at the same time the 
Government hastens to impose 
these burdens it talks but does 
nothing about the £1,500 million a 
year defence bill. 

" Economies in this direction 
would not only provide all the 
revenue and more which the Gov- 
ernment aims to obtain by its 
attacks on the social services but 
would also make it possible to 
undo the effect of other burdens 
they have imposed on us previous 
to their recent pronouncements. 


^ was A.C.T.T.'s guest of honour, 
described the Government's Film 
Bill as " a very makeshift and un- 
inspiring effort, a very dreary re- 
production of past palliatives." 

" It comes," he said, " of rather 
weak parentage, and it has cer- 
tainly had a premature birth. 
Frankly, I hope that the Unions in 
the industry are going to kick up 
a hell of a row about amendments 
to the quota system. 

" I see absolutely no reason why 
the Government should have re- 
produced, after all these years of 
experience, an unamended repeti- 
tion of the Quota Act, since they 
are in possession of all the results 
of your labours and the labours of 
others that took place last year, 
although we who sit in the House 
have not, of course, had the benefit 
we should have had of having seen 
a it-port and recommendations of 

the National Film Finance Cor- 
poration after all the consultations 
and discussions last year. I think 
that makes it even more important 
that you should kick up a row and 
we on the Committee shall cer- 
tainly do our best in that direction. 

" I welcome very much the 
widening area of agreement which 
has developed in this industry 
about matters of taxation and pro- 
duction amongst the unions and I 
look forward to this widening area 
of agreement on what should be 
done about film production and the 
taxation of the cinemas having its 
political impact. But there has to 
be much more pressure yet before 
that can come to fruition. 

" The trouble with Government 
policy on films is a fundamental 
one and we need today a new and 
honest approach to the whole sub- 
ject. There is a lot of bunk being 
talked at the moment about free 
trade. The question is — freedom 

March 1957 



for whom? Of course everybody 
wants to see trade barriers between 
countries being broken down but 
we don't want to see it done at the 
expense of killing our own produc- 
tion and killing our own industry, 
and it is clear to those of us who 
are not completely blind that 
laissez-faire capitalism would per- 
manently limit us to the position 
of Hollywood's 49th (or is it 50th?) 
market. And the outlook of boom 
or bust in this industry would be 
fatal to British films. 

"I believe that Britain is entitled 
to claim for British filming, as we 
claim for British farming, guaran- 
teed and expanding markets, fair 
returns to producers and full em- 
ployment for the workers in the in- 
dustry, and we should constantly 
press upon our political represen- 
tatives who go to international 
trade negotiations that they should 
stand up openly and honestly for 
the rights of the Government in 
this country to subsidise British 
film production and to give special 
tax relief to the exhibitors to en- 
courage them to make British 

No Museum Piece 

" We don't want just to preserve 
the British film industry as a static 
museum piece. We want to see an 
expanding industry and a fostering 
of the best talent we have. 

" The Government takes enough 
money out of cinemas and they 
should put more of that money 
back into production, and put it 
back directly in my opinion. That 
is why I want to see enlarged the 
agitation for a state film corpora- 
tion in Britain and for a national 
circuit of cinemas because, in my 
view, these are the only ways in 
which we can ensure full employ- 
ment in the industry and its ex- 

" Your industry, like all industry, 
depends in the last resort on the 
living standards of the people who 
go to the cinemas, and we are not 
going to maintain the habit of 
cinema-going or maintain the pay- 
ments on the purchase of TV sets 
by a policy that takes profits out 
of the pockets of the poor and puts 
bigger profits in the pockets of 
the stockholders and landlords." 

Mr. Swingler said he was con- 
stantly told one must not raise 
certain questions because it would 
annoy America at international 
trade conferences. " That is why," 
he said, " we are told we should 
not raise the question of state 
subsidy for film production, or 
special tax relief for encouraging 
home production because it would 
be contrary to G.A.T.T. and Holly- 
wood would not like it." 

Members in Debate 

Below are summarised some of the more important debates on 
individual A.G.M. Resolutions 


One of the most important items 
on the A.G.M. Agenda was the 
resolution (No. 18) on Television 
Organisation moved by John War- 

This resolution noted the excel- 
lent work accomplished in the field 
of television, particularly in regard 
to the new draft Agreement and 
the formation of the Television 
Branch. It asked the incoming 
General Council : 

(a) to be unremitting in its TV 
recruitment drive; 

(b) periodically to circularise all 
television members with a 
bulletin informing them of 
the working being done on 
their behalf; and 

(c) that all provincial centres 
should be visited by an 
Organiser at least once a 

Not A New Medium 

Moving on behalf of the TV Pro- 
ducer/Directors' Section John War- 
rington stressed that TV was not 
a new medium. It was over 20 
years old. It had been a major 
part of entertainment for 10 years, 
had been a tremendous industry for 
five years, and two years ago com- 
mercial television was in operation. 
It was not a toy or a Government 

He calculated that the output of 
Independent Television in London 
alone was equivalent to nearly 40 

" We have a Government that 
was prepared to defy Washington 
on certain important things and to 
accuse other governments of pur- 
suing evil policies in other cases, 
but it is not, apparently, prepared 
to ' go it alone ' in the right direc- 
tion. I think that to stand up for 
a state subsidy for British films 
would be a right policy. I think 
that to introduce a discriminatory 
taxation relief for British films 
would be a good way of standing 
up for British national indepen- 

first feature films per week. The 
staff needed for television was suffi- 
cient to make nearly 12,000 feature 
films per year. 

The staff were young and en- 
thusiastic. They were Directors, 
Cameramen, Engineers and Sound 
Technicians, all with the ideal of 
putting out the best programme 
that they were allowed to put out 
by a very unambitious B.B.C. or 
advertising executives, but these 
young people knew nothing about 

One Indivisible Union 

While raising this criticism John 
Warrington stressed at the same 
time that " We are one Union, in- 
divisible. We are not against 
A.C.T.T., we are fighting on your 
behalf." He then referred to 
struggles against the Association 
of Broadcasting Staffs, and de- 
clared that its real aim was to pre- 
vent any extension of A.C.T.T. "We 
are fighting not only the B.B.C, 
not only the Contractors, but those 
who are well organised and are 
determined to prevent the exten- 
sion of our Union." 

He urged the need for increasing 
the staff of A.C.T.T. in order to 
provide a full-time first class 
Organiser for Television. 

He also stressed the need for 
continual publicity regarding what 
A.C.T.T. was doing in the Tele- 
vision field. 

Monthly Visits Urged 

Vivian Milroy, seconding, urged 
that the provincial centres should 
be visited by an Organiser at least 
once a month. He was critical of 
the amount of information on Tele- 
vision in the Journal and urged the 
need for a bulletin being issued to 
every single member at least once 
a month to inform them of what 
was going on. It was very likely, 
he added, that there were good 
reasons why negotiations for a 
Television Agreement should have 
taken over a year and still no final 
agreement had been reached, but 
(Continued on page 42) 



March 1957 



people in the industry were un- 
happy about it, thinking it had 
been shelved or forgotten. If they 
had been told of what was being 
done, or if that was difficult, even 
of the number of meetings that 
had been held they would at least 
know what was going on. 

Desmond Davis, agreeing with 
the mover and seconder, said our 
record over this Agreement had 
not been good but there were very 
good reasons for this, and it was 
no good belly-aching about the 
past. He, too, urged the need for a 
" cracking good Organiser ". 

Organise in the Shops 

Leon Clore said one could not 
always put in resolutions to the in- 
coming General Council and Ex- 
ecutive giving them the respon- 
sibility for the drive for member- 
ship; that was really the respon- 
sibility of people on the floor. One 
could not always refer it back. He 
stressed the need for organising 
in the Shops themselves. 

Kurt Lewenhak stressed that 
A.C.T.T. was a national union with 
nation-wide responsibilities, and it 
must organise as such. He, too, 
strongly urged the need for 
monthly visits to provincial centres 
and suggested that it might be 
possible for A.C.T.T. to establish 
some kind of regional office which 
could be used as a base for an 
Organiser who could cover Bir- 
mingham, Manchester and Scot- 

Alf Cooper welcomed the new 
blood and fresh faces in A.C.T.T. 
and the enthusiasm of the Tele- 
vision members. He agreed that 
they needed staff representation 
from Head Office and the support 
of the General Council. He referred 
to early experiences in the Labora- 
tories and Studios and urged that 
members in TV " must fight like 
hell ", and then at the next A.G.M. 
they would not be talking about 
getting an agreement but about 
getting improvements in the agree- 
ment they had obtained in the 

The resolution, which was sup- 
ported by the General Council, was 
carried unanimously. 


Another resolution on Television 
(No. 17), moved by Desmond Davis, 
reaffirmed A.C.T.T.'s policy of 
100% membership in the appro- 
priate grades in television, noted 
that negotiations between the Pro- 
gramme Contractors and A.C.T.T. 
were progressing but regretted the 

delay in coming to a final agree- 
ment. It also drew the attention 
of the Postmaster-General and the 
T.U.C. to the fact that the B.B.C. 
still refused to recognise A.C.T.T. in 
the Television field. The resolution 
pledged wholehearted support to 
the incoming General Council and 
the Television membership in any 
action deemed necessary for the 
establishment of Trade Union stan- 
dards in this field of work. Moving 
the resolution, Desmond Davis said 

FOR 1957 

President: Anthony Asquith 

Vice-Presidents : 

Max Anderson 
Alf Cooper 
Sidney Cole 
Desmond Davis 
Terry O'Brien 
Charles Wheeler 

Treasurer: Frank Fuller 

General Council: 

Ralph Bond 
Chris Brunei 
Kenneth Gordon 
Desmond Dickinson 
Walter Lassally 
Fred Swann 
Lindsay Anderson 
Derek Twist 
Monica Toye 
George Irons 
Len Runkel 
Ray Sharpe 
Sid Bremson 
Bill Whittemore 
Harold Clayton 
Tony Shine 
Ken Roberts 


Geoffrey Bell 
Basil Wright 

the membership strength in Tele- 
vision was growing apace but one 
must not be content with less than 
100% membership. They must 
work hard, then they could talk 
real turkey, and they wanted to 
talk. They must have a well- 
organised recruiting drive and they 
must have missionary zeal from 
individual members. " It is up to 
you personally to get this 100' ; 
membership," he said. Referring to 
the negotiations for an agreement 
with the Programme Contractors 
he said this was a matter of the 
most ghastly complexity. It was 
not a question of an agreement 

with one organisation but with five 
separate organisations, each with a 
different method of working and a 
different scale of pay and different 
grades. " So we never know what 
the devil we're talking about." 
Referring to the B.B.C.'s refusal 
to recognise A.C.T.T., he said that 
the B.B.C. hit with a manicured 
hand. When we went to the B.B.C. 
and said that we represented 60' , 
of their employees working in the 
grade of Cameraman and we 
wished to be recognised, they re- 
plied that they had no grade of 
Cameraman, the gentlemen who 
operated their cameras were En- 
gineers of a certain grade. " This, 
of course, is no more than a bare- 
faced fiddle with words and I call 
upon the incoming General Council 
to take firm measures to put an 
end to this." 

Tony Shine, seconding, referred 
to the negotiations for an Agree- 
ment and said that although the 
first draft had been torn up on the 
spot by the Executive they had at 
last got something and every sec- 
tion would have to see it before 
it went back to the Programme 

A Cast Iron Case 

George Elvin said that he felt 
he could not go back to his hospital 
supper without speaking on one 
resolution, and he had chosen this 
particular one. Desmond Davis had 
said that A.C.T.T. had a cast-iron 
case for being recognised by the 
B.B.C. in Television. " We must 
take a lesson from the Musicians' 
Union and Equity who equally had 
this problem and faced up to it by 
action. The Musicians' Union 
sought recognition not by arguing 
but by a threatened stoppage on 
the job and we must be as militant 
in order to be recognised. We must 
have a similar showdown with the 
B.B.C. to that which the Musicians 
and Equity had." 

In the Laboratories agreements 
were taken for granted, but they 
were not taken for granted as far 
as Television was concerned. " We 
have got to work hard in the next 
few months to get through in 
Television the same sort of agree- 
ments as in films." 

Bert Craik hoped that members 
would not get too despondent be- 
cause the Programme Contractors 
were still talking to us. " It is we 
who have held up negotiations. 
They submitted to us, after talks 
with our side, a draft Agreement 
which the Executive were not 
happy about and we had spent 
four weekends amending it," he 
said. We had completed our work 
(Continwi <l mi /<n</< 46) 

March 1957 



A Technician's Notebook 


THE British Standards Institution 
has issued a revised British 
Standard for Photographic Ex- 
posure Tables. This standard first 
appeared in 1941 as a War Emer- 
gency Standard following upon a 
request from the Admiralty 

In 1947 a new standard on speed 
and exposure index of photographic 
negative material was published 
and it was, therefore, necessary to 
revise the one dealing with ex- 
posure tables. At the same time 
the exposure values were brought 
into line with the corresponding 
American Standard and this in- 
volved an increase in the exposure 
obtained from the tables. This in- 
crease was generally considered in 
this country to be too large and it 
was explained in an amendment 
that the scene indices for black 
and white negative material incor- 
porated a safety factor of 4 to 
guard against the likelihood of 
under-exposure due to errors in 
scene estimation and to deteriora- 
tion of emulsions. 

Recent experience in America 
has confirmed the British view that 
this safety factor was too high, 
and the American Standard was 
recently revised to incorporate re- 
duced safety factors and a modified 
scene structure classification. 

The new British Standard main- 
tains the alignment with the 
American standard. There have 
also been other changes : provision 
is made for the more logical series 
of shutter speeds which is being 
included in the revised British 
Standard " Camera Shutters " now 
being prepared; and an appendix 
has also been added which gives an 
approximate table for converting 
the European Scheiner, Weston and 
DIN speed systems to the British 
Standard (logarithmic) and the 
American Standard (arithmetic) 
exposure index. 

Copies of this Standard, B.S. 935: 
1957, can be obtained from the 
B.S. I., 2 Park Street, London, W.l. 
The price is 3/-. 

W. F. Dormer Ltd. inform me 
that the Camefiex hire service they 
started several months ago with 
one camera has proved so popular 

that they now have four outfits 
available, with camera crews if 

Two of the cameras are of the 
type which can be converted to 
shoot 16mm. in a matter of 


A. E. Jeakins 

seconds. With 16mm. film lenses 
down to 13.5mm. can be used, with 
35mm. film an 18.5mm. lens is pro- 
vided. The range of lenses extends 
upwards to one of 500mm. focal 
length. There is a choice of sync, 
or wild motors, and one outfit is 
fitted with a contactor for the 
Leevers-Rich Syncropulse sound 
system. A blimp is available when 
needed. Magazines of 100, 200 or 
400 feet capacity can be supplied. 
Equipment for special applications 
— for example time lapse, remote 
control, underwater photography, 
etc. can be provided. 

Recently I gave some details of 
a " mirror " screen being developed 
in Poland which enabled pictures 
to be projected under normal room 
lighting conditions. The "American 
Cinematographer " reports experi- 
mental development of a radically 
new type picture screen that 
makes possible the viewing of tele- 
vision and motion pictures in 
artificially or naturally lighted 
rooms, by the Radio Corporation 
of America. It is reported that the 
new screen makes possible in- 
creases of up to 20 to 1 in picture 
contrast under adverse ambient 
light conditions. The R.C.A. screen 
has a honeycomb structure, con- 
sisting of a network of tiny, inter- 
connecting cells. It is made of 
aluminium foil, 001 inch thick; 
cell width, length and depth can 
be varied to produce a range of 
viewing angles. 

For motion picture use the 
screen, or " directional viewing 
device " as it is called, can be 
mounted in front of the theatre or 
home screen or it can be made 

complete with a backing screen. 
For TV use the device would be 
placed directly in front of the 

Last December the Hollywood 
plant of Technicolor Ltd. passed 
the 5,000 million mark in pro- 
cessed footage. Most of this foot- 
age was accounted for in the form 
of 35mm. positive colour prints 
manufactured by the Technicolor 
imbibition process. More Techni- 
color prints have been made of 
Gone With the Wind than of any 
other picture : 2,000 in fact, total- 
ling round about 41,000,000 feet. 
("American Cinematographer"). 


Tj^RED TONGE, a Trade Union 
*- Organiser with thirty years' ex- 
perience in the Transport Salaried 
Staffs' Association, has joined the 
staff of A.C.T.T. as a temporary 

He started his Trade Union 
activities as Branch Secretary at 
Swindon. In 1939 he transferred 
to London, and two years later he 
became Secretary of the Padding- 
ton Branch. 

In 1943 he was elected to the 
National Executive of the T.S.S.A., 
serving on the Negotiating Com- 
mittee. He also served for fifteen 
years on the Superannuation Com- 
mittee and for ten years on the 
Sectional Council, which deals with 
conditions of employment apart 
from nationally negotiated agree- 

Between 1943 and 1956 he repre- 
sented the T.S.S.A. at the T.U.C. 
and the Labour Party Conferences. 

He has been a member of Trade 
Union delegations to Belgium, 
Austria, Czechoslovakia and the 
U.S.S.R. He stood as Parliamen- 
tary Labour candidate for Chelsea 
in 1950 and 1951. In 1952 he was 
elected to the L.C.C. for South 
Hammersmith. This constituency 
disappeared under the re-distribu- 
tion of 1955. In 1956 he was elected 
an Alderman of St. Pancras 
Borough Council. 



March 1957 

General Council in Session 


TELEVISION. P. Leech reported 
that full Committees were func- 
tioning in Associated Rediffusion 
and Granada, Manchester, and 
there was an A.C.T.T. Steward in 
the A.B.C. Studios in Manchester. 
Our members in I.T.N, have formed 
a committee and elected a Steward. 
A shop meeting was held, at which 
an Organiser was present, and fur- 
ther steps are being taken to 
organise this company fully. The 
company is now to be represented 
on the Programme Contractors' 
Labour Relations Committee. A 
well-attended meeting of Produc- 
tion Assistants from three of the 
four TV Contractors was held. The 
working conditions of Production 
Assistants in A.B.C. Television are 
to be taken up with the company. 
Negotiations have been held with 
Associated-Rediffusion on the re- 
opening of Studio 9, and a number 
of redundant members have been 

The Organiser was to visit Man- 
chester to attend a joint committee 
meeting of Granada and A.B.C. 
Four weekend meetings of the Ex- 
ecutive sub-committee to amend 
the Programme Contractors' Asso- 
ciation/A. C.T.T. Agreement have 
been held, with members from the 
main companies present. 

ING STAFFS. A letter has been 
received from NATKE suggesting 
an informal meeting between Sir 
Tom O'Brien, Mr. Frank Haxell of 
the E.T.U. and the Acting General 
Secretary to discuss the activities 
of the A.B.S. in the commercial 
television field with a view to a 
joint approach to the General 
Council of the T.U.C. The Execu- 
tive agreed that we should take 
part in these discussions. 

TION. The Executive Committee 
agreed that we should be represen- 
ted on the Committee which this 
Association proposed should be 
established with a view to obtain- 
ing trade union representation on 
the All-Industry Tax Committee, 
and Sidney Cole and Chris Brunei 
were appointed A.C.T.T.'s repre- 

HAM AND ACTON. The Acting 
General Secretary reported that he 
had written to Mr. Harcourt re- 
questing an assurance on the 
points raised at the last meeting of 
the General Council and had re- 
ceived a reply giving assurance 
that there was no intention to 
transfer personnel from one labora- 
tory to another unless it was the 
express desire of a particular em- 
ployee. On the question of possible 
future redundancy at either labora- 
tory we were assured that the 
company would consider the matter 
in the light we mentioned and due 
notice would be taken of length of 

" SPORTSVIEW ". The Acting 
General Secretary reported that 
the General Council's decision re- 
garding the printing of Sportsview 
had been implemented and as 
Olympic had not approached us by 
the deadline date given to them 
we had advised Kay's Management 
through the Shop Steward that it 
was in order for them to print 
Sportsview if they so wished. 


A letter from the B.F.P.A. pro- 
posed to introduce shift work for 
dubbing staffs at Pinewood in 
order to try and avoid excessive 
overtime which otherwise would be 
necessary to cope with the volume 
of work. The B.F.P.A. suggested 
a meeting with representatives of 
NATKE and A.C.T.T. in order to 
discuss detailed proposals. The 
letter was considered in conjunc- 
tion with the views of the Pine- 
wood Committee, and it was agreed 
that the Acting General Secretary 
should reply, saying that we should 
be prepared to meet the B.F.P.A. 
on our own and under the terms of 
our agreement. 

SOUND SECTION. The Executive 
reconsidered the letter from the 
Sound Section of the 8th October, 
1956 itemising various complaints 
and drafted a reply. In connection 
with Ail-In Contracts, it was 
agreed the Section be advised that 
both the A.S.F.P. and B.F.P.A., 
together with companies not in 
membership of these two organisa- 

tions, were written to on this 
matter last August. It was also 
agreed that Head Office should 
send a circular to all Feature and 
Shorts Shop Stewards, and Section 
Secretaries, advising them that no 
member, with the exception of 
those grades set out in the Feature 
Agreement who have the right to 
negotiate an individual contract, 
should sign contracts at an all-in 
rate for location work. 


(British Acoustic): When the 
Organiser (P. Leech) appeared at 
the Works, the Steward, Bro. 
Langdon, was informed that if he 
insisted on the Organiser being 
present the Company would insist 
that the redundancy issue become 
one for the Federation of Engineer- 
ing Employers, and that their 
representative would have to be 
present. Because of the pattern set 
by the employers at Federation 
level on redundancy, it was felt 
that to make such an insistence 
would be unwise at that juncture. 
Therefore the Organiser and Bro. 
Langdon suggested to the A.E.U. 
and Sheet Metal Workers' Stewards 
an approach to obtain the four-day 
week; failing satisfaction on this: 

(i) to find the definite number 
and the departments involved 
in the redundancy; 
i ii i to reduce this number as 

much as possible; 
(iii) the principle of last in first 
out and re-engagement in the 
the same order; 
(iv) adequate compensation (bear- 
ing in mind our Technicolor 
experienct ). 
The Management could not 
accept a four-day week as the pre- 
sent position could continue for a 
year, but they accepted the prin- 
ciple of last in first out, and re- 
engagement in the correct order, 
while refusing to give the exact 
number of redundancies and the 
departments concerned. On com- 
pensation they refused to give de- 
tails but refilled to their handling 
of a previous redundancy, i.e.. after 
3 years two weeks' salary, after 
5 years one month's, with a month 
for every 5 years' service above 
this. Up to 3 years, nothing. 

March 1957 



General Council 


A series of full Shop meetings 
had been held, with the A.E.U. in 
the main accepting the Manage- 
ment's conditions. When the total 
redundancies were announced they 
involved some 30 workers, only 
two of whom were A.C.T.T. mem- 
bers. These members have subse- 
quently found other jobs but at less 
pay. A.C.T.T. members are expect- 
ing further redundancies and are 
not happy at the way things have 
gone. The A.C.T.T. committee is 
meeting the joint works committee 
to discuss future redundancies and 
the policy that should be pursued. 
This brief report does not do full 
justice to the efforts of Bro. Lang- 
don, who has had to fight under the 
most difficult conditions and has 
made extraordinary efforts to help 
non-members affected by the re- 

Arising out of this report the 
Executive Committee agreed that 
with a view to working out a 
policy for the future the Organiser 
should raise the matter with the 
A.E.U. Area Organiser. 


A further approach was made to 
this company pressing for the full 
implementation of the Laboratory 
Agreement, implying also that we 
may have no alternative but to 
take the matter to arbitration if 
the matter could not be settled 
amicably. The company have writ- 
ten to say that if they are com- 
pelled to pay the full increases 
they would have only one alterna- 
tive, obviously hinting that it 
would mean redundancy. The offer 
they have made in writing is an 
increase of 5/6d. per week to each 
employee and a change in the cost 
of living bonus to l/6d. per point 
from the week commencing 31st 
December, 1956. The Executive 
Committee agreed that Bessie Bond 
should press the case and placed 

on record their full support to the 

considering the following declara- 
tion of this Bureau submitted by 
Anthony Perry, the Executive 
recommended A.C.T.T. associate 
itself with it : 

" We, the undersigned . drawn from 
the field of art and sport, are dis- 
mayed by the danger that is arising 
in Africa from the theory and practice 
of apartheid. We believe that the 
theory is inhuman, and that the prac- 
tice restricts arbitrarily, even pro- 
hibits, the enjoyment and the use of 
human talent, 

" Sport and the arts are concerned 
with those things mankind has in 
common. Today, when men increas- 
ingly hunger for freedom and unity, 
we believe that we have a special 
responsibility to cherish and advance 
the liberties which have been so 
hardly won through the centuries. 

" To impose any form of discrimi- 
nation on grounds of race, colour or 
religion is contrary to all we believe 
and work for. We are determined 
nowhere to condone it, but to oppose 
it by every means in our power; and 
we invite anyone who shares our view 
to join us in this declaration." 


TRUST: The Acting General Sec- 
retary had written to Paramount, 
as instructed by the General Coun- 
cil earlier in February, and had 
received a reply indicating that the 
company was not prepared to alter 
its original attitude that it would 
not negotiate with A.C.T.T. over 
compensation for former Para- 
mount News employees. Bert Craik 
was instructed by the Executive to 
reiterate that we have a duty to 
protect the interests of our mem- 
bers; he had also said that if we 
did not get satisfaction by return 
of post we would report the matter 
as a dispute to the Ministry of 
Labour and take steps to have the 
matter raised in the House of 
Commons. It was reported to the 
meeting that members with long 
service had been given compensa- 
tion at the rate of a week's pay for 
every year with Paramount News, 
and, in view of all the circumstan- 
ces, this was regarded as in- 


DEPT. on probation for pensionable establishment. Normal tour 36/45 
months. Salary scale (including Inducement Pay) £1,056 rising to £1,341 
a year. Commencing salary according to qualifications and experience. 
Free passages. Liberal leave on full salary. Candidates should have had 
at least 5 years' experience of sound recording in all stages of film 
production, the installation and maintenance of electronic equipment 
and a thorough knowledge of magnetic recording media and methods. 
They must also have had experience of 16mm. production with mag- 
netic tracks, synchromous recording, dubbing and transfer. Write to 
the Crown Agents, 4 Millbank, London, S.W.I. State age, name in block 
letters, full qualifications and experience and quote M3B/43956/CY. 

The Council also had before it 
the announcement of the formation 
of the British Commonwealth In- 
ternational Newsfilm Agency Trust. 
After discussion it was agreed that, 
failing satisfaction from Para- 
mount, the matter be referred to 
the Ministry of Labour, and that 
powers be given to the Executive 
to take further action if required. 
It was further agreed to seek a 
meeting with the Newsreel Asso- 
ciation and to approach the Trust 
immediately to discuss their work 
and the question of the employ- 
ment of our members. 


Office junior with typing experi- 
ence required for Records Depart- 
ment at A.C.T.T. Head Office. 
Applicants should phone Office 
Manager at Gerrard 8506 for inter- 


Composer wishes to break the 
" Chicken or the Egg " sequence — 
has written score documentary 
film and signature tune for indus- 
trial series. Now wishes more 
(much more!) film work. Capable 
anything from "ferronconcrete" to 
"neo-Stravinsky". Write BOX 201, 
Film & TV Technician, 5-6 Red 
Lion Square, London, W.C.I. 

Camera Hire 

(1) NEWMAN SINCLAIR— Mirror Shutter. 
All Cooke Lenses including Series 2., 
and Electric Motor Drive. (Available fully 
adapted for CINEMASCOPE if required.) 

(2) NEWMAN SINCLAIR— Mirror Shutter. 
Cooke Lenses and 24mm. Angineux Retro- 

(3) NEWMAN SINCLAIR— Model G. All 
and Electric Motor Drive if required. 

Kingston Tubular and Vinten Light Gyro 


Metal construction, pneumatic tyres, drop- 
down jacks, lightweight tracks, etc. 


FINchley I 595 



March 1957 



now and would submit the new 
draft to the Executive, to a meet- 
ing of the Television Section, and 
then to the Programme Contrac- 
tors for negotiation." 

Monopoly Trends 

As a matter of emergency the 
A.G.M. had before it a resolution 
in the name of the General Council 
expressing concern at continuing 
monopoly trends in the film in- 
dustry, particularly the expansion 
of the major cinema circuits, the 
absorption into the largest mon- 
opoly group of Olympic Labora- 
tories, and the newly-formed Bri- 
tish Commonwealth International 
News Film Agency, and instructing 
the General Council to take such 
action as it deemed necessary. 

Labs Worried 

Alf Cooper, moving on behalf of 
the General Council, said that in 
the laboratories they were very 
worried at the concentration of the 
industry into the control of too 
few people fighting one another to 
the detriment of the employees. 
Terry O'Brien, seconding, said the 

immediate reaction of newsreel 
members to the newly-formed Bri- 
tish Commonwealth News Film 
Agency was one of fear. The dan- 
ger they saw lay in the tie-up with 
the B.B.C. and the Rank Organisa- 
tion. They presumed the Rank 
outlet for news would be on closed 
circuit television. If other circuits 
were not so well equipped for this 
it meant all newsreels would be in 
the hands of Rank. The only other 
outlet they had for broadcasting 
TV news was I.T.N who, signifi- 
cantly enough, had not been in- 
vited to join this organisation. The 
contraction of outlet would obvi- 
ously mean some contraction of 

The resolution was passed. 

Another emergency resolution, 
moved for the General Council by 
Ralph Bond and seconded by R. J. 
Minney, stressed the need for sub- 
stantial alterations in the Quota 
provisions of the Cinematograph 
Films Act and protested against 
the decision of the Government to 
extend this section of the Act for 
a further ten years without altera- 
tion. It noted that, following pres- 
sure from the Unions and other 
trade bodies the President of the 
Board of Trade had now under- 
taken that later in the year he 



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would consult the Cinematograph 
Films Council and all sections of 
the industry about detailed amend- 
ments to the quota legislation. The 
resolution, which was carried, 
stressed the need of sufficient Par- 
liamentary time being allowed for 
amending legislation before the 
present Cinematograph Films Act 

The Government was called upon, 
in a resolution moved by Sam 
Napier-Bell, to revive the former 
policy of generous and imaginative 
sponsorship of documentary films. 

Artistic Standards 

Walter Lassally, seconded by 
Lindsay Anderson, succeeded in 
narrowly defeating the General 
Council on a resolution which he 
moved calling upon the incoming 
General Council to accept respon- 
sibility for promoting the highest 
professional and artistic standards 
in films, particularly when con- 
sidering the encouragement of new 
talent into the industry, applica- 
tions for temporary membership, 
applications for varying the estab- 
lished terms and conditions of 
employment for special projects, 
and exchanges with technicians of 
other countries. 

Demands for the establishment 
by the Government of a National 
Film Circuit in order to stimulate 
British production and for the 
setting up of a National Film Unit 
under a National Film Board were 
made in two resolutions put for- 
ward by the National Coal Board 
Technical Film Unit. Both these 
resolutions were passed. 

A resolution in the name of the 
Producer/ Directors' Section was 
passed calling on the General Coun- 
cil to investigate the possibilities of 
setting up international co-produc- 
tions along the lines of those made 
by various combinations of Euro- 
pean countries where the films pro- 
duced were eligible for double quota. 

The incoming General Council 
was strongly urged, in a resolution 
moved by Bill Whittemore, to ex- 
amine all means of bringing pres- 
sure to bear on Kodak with the 
object of achieving recognition of 


Cover still by Ian Jeayes is of 
Dirk Bogarde and Brigitte Bardot 
in Doctor at Large. 

March 1957 






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April 1957 




THE> new Films Bill has now 
passed through all its stages in 
the House of Commons and has 
become Law. 

As A.C.T.T. forecast, the Govern- 
ment resisted and defeated all 
amendments designed to improve 
the Bill and the most the Labour 
opposition extracted from the 
President of the Board of Trade 
were two concessions. 

The best that can be said for the 
Bill — or rather, now, the Act — is 
that it carries forward, for the 
time being, the functions of the 
National Film Finance Corpora- 
tion, and imposes a statutory Eady 
Levy in place of the present un- 
satisfactory voluntary system. 

The positive value of these two 
sections of the Act is that inde- 
pendent producers can still obtain 
financial backing from the Film 
Finance Corporation for agreed 
projects, and British producers can 
be assured that their box-office 
returns will be augmented by a 
Levy which will produce £3| mil- 
lion pounds in the first year, and 
anything between £2 million and 
£5 million in subsequent years. 

Against these helpful features 
can be set a number of serious 
defects, not the least of which is 
the clause in the Act providing for 
the sale of the assets of the 
National Film Finance Corpora- 

Despite the most vigorous fight 
put up by Labour M.P.s, the 
Government insisted on the reten- 
tion of this clause, and the only 
concession made was an amend- 
ment to ensure that any purchaser 
of the Corporation must be and 
must remain a British company. 

Let us consider for a moment 
the iniquity of this section of the 
Act which says that at some period 
the assets of the Corporation can 
be sold to a company which satis- 
fies the Board of Trade that it is 
willing and able to make adequate 
financial facilities available to per- 
sons who wish to arrange for the 
production or distribution of cine- 
matograph films. 

In effect it means that at any 
time during the next ten years, the 
Government can decide that this 
publicly-owned films bank shall be 

sold lock stock and barrel to pri- 
vate enterprise. 

In the words of Mr. John 
Rankin, M.P. : " Take away the 
Film Finance Corporation and we 
are handing over the industry to 
the great monopolies." 

Mr. Stephen Swingler, M.P., put 
it even more forcefully. " It seems 
to me ", he said, " that this is all 
part of the philosophy of saying 
that we should socialise only the 
losses and should always privatise 
the profits; that profits should 
always go into the hands of the 
private capitalist and only losses 
should be borne by public funds. 
Why should not we in this country 
have a publicly-owned films bank 
and why should it not be a suc- 
cessful piece of public enterprise?" 

And what was the Government's 
answer to that? 

Sir David Eccles, President of 
the Board of Trade, was perfectly 
open about it. " The Hon. Mem- 
ber and his Hon. Friends believe 
in the Government staying in busi- 
ness. We on this side do not 
believe in it." 

Apart from the fact that it is 
not the Government that is in busi- 
ness, but the community as a 
whole, the implication of this state- 
ment seems clear. It is the inten- 
tion of this Government, when it 
thinks it can get away with it, to 
sell up the Film Finance Corpora- 
tion to private enterprise. 

As other Labour Members 
pointed out, why stop at the films 
bank? Why not sell up the schools, 
or even hand over the Army and 
Navy to private enterprise? Why 
not indeed? The Government 
would really then be out of busi- 
ness, in more senses than one ! 

As members who were at the 
A.G.M. will know, one of the most 
serious criticisms we had to make 
of the Bill was that it extended the 
quota provisions for another ten 
years without change. 

As a result of our protests, com- 
bined with those of others, the 
Board of Trade had promised con- 
sultations this autumn on amend- 
ments to the quota, but without 
guarantee of Parliamentary time 
and new legislation. 

Now the President of the Board 

of Trade has had to go a bit 
further, and announce another con- 
cession. He said, in Committee : 
" I repeat my assurance that 
when we have finished the con- 
sultations with the industry which 
are necessary to carry out the pro- 
visions of the Bill, should it become 
law, we shall go straight on to the 
discussion of quota legislation. 
That ought to give us a fair 
amount of time to bring in legis- 
lation next session or in the follow- 
ing one — but I cannot commit the 
Government since we do not yet 
know what our legislative pro- 
gramme will be." 

At the third reading he tabled 
a Government amendment the 
effect of which is to carry on with 
the present quota legislation until 
1960 instead of 1968 as originally 

The House of Commons agreed 
to this, but not without protest. 
Mr. Stephen Swingler again 
pointed out that despite the fact 
that the views of all the trade 
organisations were known months 
ago, the Board of Trade requires 
another three years and the exist- 
ing system with all its faults is to 
be prolonged until 1960. 

The ineptness and incompetence 
with which the Government has 
handled the whole matter is clear 
for all to see. Admittedly a three 
year wait is preferable to ten, but 
three years is far too long, and 
A.C.T.T., at least, will not be con- 
tent to suffer in silence. 



Editorial Office: 

(GERrard 8506) 

Advertisement Office: 
5 & 6 RED LION SQ., W.C.I 

(HOLborn 4972) 



April 1957 

A Technician's Notebook 


RECENTLY I was invited to 
look at a very interesting modi- 
fication of an Arriflex camera; 
nothing less than the fitting of a 
completely new gate mechanism 
incorporating a double claw pull- 
down and register pins. 

it is the outcome of enterprise 
and initiative on the part of the 
technicians in a documentary unit 
who felt that there was a need for 
a light portable camera with a 
standard of performance generally 
associated only with heavy studio 
equipment. They were fortunate in 
having as enthusiastic collaborator 
a young engineer who, convinced 
of the practicability of the idea, 
set to work, designed and produced 
the gate which has now been given 
the name P.F.P. 

The P.F.P. gate has all the ap- 
pearances of being built to good 
engineering standards. The film is 
pulled down by double claws, 
operated by two cams which ensure 
that the claws enter and with- 
draw from the perforations at right 
angles to the direction of film 
travel. The two register pins are 
also driven positively by a cam, and 
do not use return springs. 

Improved Definition 

The back pressure plate is also 
cam operated and clamps the film 
in the focal plane during exposure. 
I was assured that this has pro- 
duced a considerable improvement 
in definition; and, because the back 
pressure plate is retracted while 
the film is being pulled down by 
the claws, one of the main causes 
of negative scratch is eliminated. 

The Arriflex camera to which 
the gate has been fitted has been 
in use on a production, and to date 
about 20,000 feet of film have been 
shot, with entirely satisfactory 
results in respect of steadiness and 

As proof of this we were shown 
on the screen shots taken at 
various stages of the production. 
Also screened were double exposure 
steady tests of the displaced cross 
type, and split screen shots, with 
both horizontal and vertical splits. 
They were an impressive demon- 

stration of the accuracy of the 
registration of this gate. 

As one might expect with a 
movement employing a moving 
back pressure plate it is rather 
noisier than the standard Arriflex 


A. E. Jeakins 

gate, but it was stated that the 
gate could be made quieter running 
by changes in some of the details 
of its construction. 

Because of the fact that the 
pressure plate works positively by 
a cam and is not spring loaded 
some adjustment would be neces- 
sary to accommodate a thicker 
film stock like Eastmancolor. 

Another feature of the P.F.P. 
gate worth noting is that though 
the modification was carried out 
on a Model II camera, tests have 
revealed that it works equally well 
with the II. A with its larger 
shutter opening. As the II and 
II. A shutter mechanisms are inter- 
changeable, this has obvious 

The cost? It is estimated this 
would be about £300, with a de- 
livery time of roughly six weeks. 
Anyone interested to know more 
about the P.F.P. gate should get 
in touch with Clifford Cameras and 
Equipments, 1 Soho Square, W.l. 


Cinemiracle, the newest of the 
super wide-screen systems, uses 
three cameras in one photographic 
unit and three projectors inter- 
locked to produce a picture with a 
horizontal angle of 146° on a giant 
curved screen. Unlike its predeces- 
sor in the same field, Cinerama, 
only one projection booth is used. 

According to an article in 
"American Cinematographer " by 
Joe Henry, on which these notes are 
based, demonstration screenings in 

Hollywood showed perfect blending 
of the three sections of the picture 
on the screen with no " jiggle " 
between them. 

National Theatres are behind 
this new process, on which develop- 
ment was begun in 1952. The 
Mitchell Camera Company built 
the camera unit, which consists 
basically of three cameras mounted 
on a base plate. The centre camera 
shooting straight ahead records 
the central panel of the triptych, 
the two flanking cameras set at an 
angle photograph the left and right 
hand panels through mirrors. 

"The American Cinematographer" 
article says that an important 
feature of the set-up, responsible 
for the excellent photographic 
results, is an interlocked electronic 
control linked with the Smith- 
Dietrich lens system, but does not 
go much further in explaining 
what this system is. As in Cine- 
rama, a six sprocket hole film 
frame is used. 

Single Booth 

As mentioned above, the three 
projectors for showing the Cine- 
miracle pictures are housed in a 
single booth. The centre projector 
screens the centre section of the 
picture, and the left and right hand 
panels are projected by machines 
set at right angles to the centre 
projector and projecting through 
mirrors which are adjustable to the 
fine limits necessary to produce 
the illusion of a single panoramic 
picture on the screen. The projec- 
tors are fitted with 8,000 ft. spool 
boxes. The sound track is on a 
separate magnetic film and runs in 
sync, with the picture on equip- 
ment interlocked with the projec- 

The Cinemiracle screen used in 
the demonstration measured 63 ft. 
by 26 ft. with a maximum curve 
of 13 ft. at the centre; covering a 
field of vision 146° wide and 55° 

The first Cinemiracle feature. 
Cinemiracle Adventure, is in course 
of production. The story is con- 
cerned with the last of the square- 

April 1957 



P. F. P. Gate Mechanism 

rigged sailing ships and involves 
shooting in many parts of the 

" In Praise of the French " 

Brian Stanford begins a recent 
article in the " British Journal of 
Photography " called " In Praise of 
the French " by saying that in the 
past the inventive genius of 
France in the cinematographic field 
has not received a proportionately 
deserved financial investment by 
France herself. Other countries 
have benefited financially from 
many of the inventions originating 
in France. This is not to ignore 
the international reputation of 
names like Debrie and Eclair. But 
since the war there has occurred 
" a sudden explosion of inventive 
genius . . . coupled to intensive and 
successful native commercial ex- 

Dr. Stanford, who is writing 
mainly about 16 mm., instances the 
Cameflex camera, backed by the 
famous name of Eclair, with its 
novel gate interchangeable to take 
16mm. or 35mm. stock, and its 
mirror shutter, as the first intima- 
tion of the new spirit that was 
rising in France. 

The Cameflex was followed a 
few years later by the 16mm. 
Pathe-Webo, also produced by a 
company with a considerable manu- 
facturing experience. In Dr. Stan- 
ford's view it is the serious ama- 

teur's best value at present; light, 
but nevertheless robust, it provides 
continuous viewing through the 
taking lens while shooting, by 
means of a pellicle, inserted behind 
the lens and in front of the shutter, 
which reflects about lO^r of the 
light through the focusing tele- 
scope. This gives a bright enough 
image for focusing, and the loss of 
light is negligible as far as ex- 
posure is concerned. A variable 
shutter and film wind-back allow 
fades and mixes to be made. 

The 8mm. Camex tackles the 
continuous viewing problem in yet 
another way. The shutter works 
like a reciprocating guillotine; a 
prism attached to it deflects the 
image formed by the lens through 
the viewfinder when the shutter is 
in the closed position. 

Brilliant Computations 

In the matter of lenses for cine- 
cameras the French have done even 
better with some brilliant new 
computations. Pierre Angenieux is 
quoted as the outstanding example. 
Research during the occupation 
period led him to develop the 
theory of his Retrofocus lens, 
which is based on the principle of 
the reverse telephoto in which the 
length of the mount is longer than 
the effective focal length. As is 
well known, the advantage of such 
a system is that the distance be- 

tween the back glass and the film 
plane is so much greater than in 
a conventional lens, that it is pos- 
sible to use shorter focal length 
lenses with mirror shutter cameras 
than would otherwise be possible. 

The Retrofocus computation 
makes possible far greater back- 
focus lengths than do orthodox 
reverse telephoto formulae, and it 
is at the same time so flexible that 
wide angle lenses of astonishing 
aperture can be made; an example 
is the 10mm. f/1.8 for 16mm. 
cameras. Angenieux has also pro- 
duced a 25mm. lens — also for 
16mm. — with an aperture of f/0.95! 

(Another lens in the Retrofocus 
range, the 18.5mm. for 35mm. 
cameras, is widely known in this 
country. — Ed.) 

Bell-Howell to Distribute 

Bell-Howell of America have 
acquired the world distribution 
rights of these lenses and have re- 
designed some of their cameras to 
accommodate them. Promised for 
the future are a 15mm. f/1.3, a 
50mm. f/0.95 and a compact zoom 
of new computation. 

In connection with zoom lenses, 
the name of another famous French 
optical manufacturer comes to 
mind — Som-Berthiot. Their first 
zoom lens, which had a range of 
20mm. to 60mm. with an aperture 
of f/2.7 over the full range, was 
deservedly successful. The experi- 
ence gained led to the design of a 
new model with a range of 17-68 
mm. with the impressive aperture 
of f/2.2. 

New 16mm. Series 

Som-Berthiot, who can look back 
on 100 years of existence, made 
their entry into the 16mm. field in 
1932 with an f/1.5 lens. They are 
now on the point of putting a new 
range of 16mm. lenses on the 
market, starting with a 25mm. 
f/1.4, a 10mm. f/1.9 and a 75mm. 
f/2.5. These will be followed later 
by a 25mm. f/0.95, a 100mm. f/3.5 
and a 145mm. f/4.5. 

Kinoptik, founded by M. Grosset 
in 1932, is another famous lens- 
making firm which originally made 
lenses exclusively for the 35mm. 
market, but have recently intro- 
duced lenses for 16mm. professional 

The Kinoptik range of lenses is 
held in the same esteem in pro- 
fessional circles, Dr. Stanford says, 
as are our Taylor-Hobson Cookes, 
and are recommended equipment 
for the Eclair Cameflex. 



April 1957 



Bouquet to Simon Brooks, sur- 
veyor of TV in the " Daily Film 
Renter ", for plugging a new devel- 
opment in press previewing tele- 
films on the same lines as cinema 
pictures. He points out how absurd 
it is for critics only to see these 
recorded television programmes 
when the public does; it is like a 
film critic having to wait till after 
the general release before he can 
tell his readers about the film. 

If the BBC and the programme 
contractors do adopt this useful 
step, which Simon Brooks regards 
as " inevitable " in the progress of 
TV in Great Britain, care will need 
to be taken that the critics do not 
become unofficial appendages of 
the publicity departments and fan 
clubs. That kind of " criticism ", 
with its lack of independence of 
thought, really does not do the 
trade much good in the long run. 

Equally, TV film reviewers 
should not ape those clever-clever 
critics who rarely lose an oppor- 
tunity to work in a sarcastic sneer; 
the most important quality a critic 
needs is a love of the medium he 
has under his inspection. That way 
even the fiercest criticism will be 
constructive. Few critics in Bri, 
tain, compared with America, 
France or Italy, measure up to this 
criterion as well as being indepen- 

Teenage Problem 

Leading figures in the film trade 
still repeat that our policy is to 
aim principally at the teen-age per- 
sonality. A man who profoundly 
disagrees is Adrian Brunei, who 
tells me this is not sound business, 
for by appealing mainly to teen- 
agers we are limiting our target to 
less than ten per cent of the 

He reached this conclusion by 
the simple process of looking up 
the official census figures published 
earlier this year. According to the 
latest analysis of the 1951 Census. 
72% of the inhabitants of the 
United Kingdom were over teen- 
age, and this figure shows an in- 
crease over that of the previous 
Census of 1931, so illustrating that 
the expectation of life is now 

Adrian Brunei urges film and TV 
producers to remember these 
statistics and to appeal more to 
adult audiences. Particularly im- 
portant is it, he says, for the 
cinemas, who find regular patron- 
age dropping off as boys and girls 
progress through the twenties, pos- 
sibly because they are assuming 
household responsibilities, and pos- 
sibly because many of them have 
grown bored with the fare that 
consists so much of a repetition of 




films of war, violence and murder. 
As Mrs. Eirene White, M.P., said 
recently in the House of Commons, 
" Cinemas cannot live on courting 
couples alone." 

I would add that British film 
producers must wake up to the 
fact that a number of Hollywood 
film-makers are now tailoring their 
pictures to a more mature audience 
— because it pays. If you doubt 
this, do as I did, and go on a diet 
of American pictures for a few 
weeks. I guarantee it will cure 
you of any complacency about 
British pictures. Hollywood is 
backing its new pictures with a 
special publicity appeal to the more 
adult sections of the population, as 
is seen in the advertisement by 
Universal - International for The 
Great Man. " If you rarely go to 
the pictures," reads the advertise- 
ment, " then one of your rare visits 
is now, to see The Great Man." 

But lift up your heads again, 
British technicians, for "The Times" 
and the "Daily Worker" agree! Of 
The Hunchback of Notre Dame the 
anonymous critic in "The Times" 
said, ". . . the acting is poor and 
is made to seem even poorer by 
the dubbing ", and Robert Ken- 
nedy in the "Worker" wrote, 
" atrociously dubbed; the acting is 
amateurish." This latest version of 
the Victor Hugo classic was made 

in France, where some of the 
voices were post-synched into 
English. These and other press 
comments add point to A.C.T.T.'s 
policy that foreign language dub- 
bing into English should be done 
in this country. We have proved 
we have first class facilities here, 
and it stands to reason that English 
people know the intricacies of the 
English tongue better than anyone 

Automation was the subject of 
a lecture-film show, which the 
Scientific Film Association has 
beensponsoring, and very revealing 
it has been, too. The speaker. 
S. B. Bailey, of the Intelligence 
Division of the Government's De- 
partment of Scientific & Industrial 
Research, pooh-hooed the idea that 
workers had anything to fear from 
automation, but significantly said 
that one of the main uses of auto- 
mation films was to enable factory 
personnel departments to sell the 
idea to the workers. As an ex- 
ample of this kind of propaganda 
film he showed Technique for To- 
morrow, made by the Ford Motor 
Company of America; this docu- 
mentary was well made, but I 
doubt if it would fool many British 

Chance for Unions 

It was clear, however, that in- 
dustrialists are going to put over 
a lot of stuff about how automation 
will produce more goods for the 
nation; but they will soft-pedal the 
fact that they want this done with 
fewer workers and they will ignore 
altogether the fact that automation 
will help the industrialists make 
still bigger profits. Here is a 
chance for the Unions, in particu- 
lar those in engineering trades, to 
become the sponsors of documen- 
taries and show automation to be 
a means of great social advance 
when in l>i< hands of the workers. 
This question of the Labour and 
Trade Union movement sponsoring 
more films keeps coming up at the 
Shorts & Documentary Section, and 
it is about time that the Unions 
realised that films can put over a 
case far more graphically than 
any other medium of expression. 

April 1957 




ON the morning of Saturday, 
April 6th, there was held, in 
the York Hall, Caxton Hall, West- 
minster, the inaugural meeting of 
the Television Branch of A.C.T.T. 
The purpose of the meeting was 
to elect officers and to discuss the 
new draft agreement between the 
Association and the TV Pro- 
gramme Contractors. 

In view of the fact that there 
had already been a meeting of the 
Manchester members to pass this 
draft and these were, therefore, 
not present, and in view of the fact 
that very many members were on 
duty, the meeting was exception- 
ally large. Well over a hundred 
members were present. 

Ralph Bond took the chair. On 
the platform with him were Bert 
Craik, the Acting General Secre- 
tary, and four members of the 
negotiating committee - - Vice- 
Presidents Max Anderson and 
Charlie Wheeler, the TV Vice-Pre- 
sident Desmond Davis and one of 
the TV General Council members, 
Tony Shine. Also on the platform 
was the President, Anthony 

The President, in his opening 
address, welcomed the formation 
of the TV branch. He recalled how, 
twenty-three years ago, the then 
newly-formed ACT was regarded 
by the tycoons in Wardour Street 
as a bunch of trouble makers and 

pointed out that almost every re- 
former in history has started out 
with the stigma of " trouble 
maker ", in fact it is very nearly 
an essential visa on the passport to 
Westminster Abbey. 

The President congratulated the 
newly-formed branch on its birth 
and only regretted the absence 
through illness of the chief mid- 
wife, the General Secretary. 

Officers of the branch were then 
elected. They were as follows: 
Chairman — Desmond Davis. Vice- 
Chairman — Tony Shine. Secre- 
tary — Ivan Ager. Publicity Officer 
— Graham Turner. 

The meeting then moved on to 
discuss the main business of the 
day, the draft agreement. 

Draft Agreement Approved 

This discussion was full and 
lively and many most interesting 
comments and suggestions were 
made and duly noted for action 
by the negotiating committee. 
Several extremely useful and con- 
structive points were raised by 
members and a small number of 
amendments were voted upon. 

It is particularly interesting to 
note that the very first amendment 
that was voted on and passed, and 
much of the discussion was aimed 
at ensuring smoother running and 
more efficient organisation in the 

television industry and it was 
strongly felt by many of those 
present that this was a gathering 
of people who were there not 
merely to grab what they could 
get but who wished, in a respon- 
sible manner, to contribute to the 
prosperity and efficiency of the in- 
dustry in which they worked and 
to stake a reasoned claim in a 
share of that prosperity. 

After some two hours' discussion, 
it was moved that the meeting 
should authorise the negotiating 
committee to go ahead on the basis 
of the draft. This was voted upon 
and carried unanimously. 

Desmond Davis, the TV Vice- 
President, then rose to thank the 
members for their attendance. 
After emphasising very strongly 
the need for missionary zeal in 
recruiting, he warmly thanked the 
film members of the negotiating 
committee, Charlie Wheeler and 
Max Anderson for their hard work 
and skilful help in framing the 
draft agreement, Bert Craik and 
Paddy Leech for their gargantuan 
labours and Ralph Bond for chair- 
ing the meeting. 

The meeting ended on a most 
stimulating note when Len Runkle, 
on behalf of the Labs Committee, 
pledged the fullest, unquestioning 
support of the Laboratory mem- 
bers to their Television brothers in 
their impending negotiations. 

THE Annual General Meeting of 
J- the Television Producer/Direc- 
tors' Section was held on April 4th. 
Officers for the coming year were 
elected as follows: Chairman, 
Leonard Brett; Vice-Chairman, 
Andrew Millar- Jones; General 
Council representative, Robert 
Barr. It was decided to elect four 
deputies for the General Council 
representative to enable other 
members of the section to gain 
experience in the work of the 
General Council. The four elected 
were: John Warrington, Vivian 
Milroy, John Fitzgerald, and Cecil 

Robert Barr reported for the 
newly-formed advertising sub- 
committee which had been actively 
engaged in stimulating interest 
among members engaged in adver- 

Some unrest was evinced at the 

TV Producer J Directors 9 Section 

present policy of granting A.C.T.T. 
membership irrespective of qualifi- 
cations or experience but after dis- 
cussion it was realised that until 
such time as the Union has a 
majority power within television it 
was more important to build up 
membership figures. 

The first of the Bulletins on tele- 
vision demanded by the union 
A.G.M. has already been circulated. 
The section secretary, Paddy 
Leech, was complimented on the 
speed and efficiency with which the 
bulletin had been got out. 

With the enormous increase in 
television members and with the 
contractors' agreement about to 
enter its final stage the Television 

Producer/Directors' section are 
looking forward to an interesting 
and vitally important year. 



16mm. BELL HOWELL 70DL with 
1 inch f/1.9 YVAR and 16mm. 

METER. SUNDRY 2in. and 3in. 
HILL, N.W.8. 



April 1957 

The Case for Co-productions 

W/HEN the Annual General 
" Meeting of A.C.T.T. unani- 
mously voted in favour of explor- 
ing ways and means for the 
setting up of co-productions on the 
European pattern, a decision had 
been taken which can result in a 
very substantial increase of film 
production in this country, pro- 
vided it is pursued vigorously 
by our General Council, pro- 
tected with the proper safeguards 
by the Board of Trade and 
launched with skill and determina- 
tion by our producers. 

Trade follows the film. We all 
know the slogan. Hollywood has 
proved its validity over the years. 
The Government tell us that 
Britain is about to enter the Euro- 

and, last but not least, in order for 
this country to work in partner- 
ship as an equal with other 
nations, perhaps even as primus 
inter pares and not as the poor 


Charles Frank 

Time and again in recent months 
we have witnessed the fantastic 
spectacle where some of the big- 
gest productions (financed with 
frozen money, every penny of 

A Recent Example of International Co-production 

pean Common Market and its Free 
Trade Area. This, then, would 
appear to be the ideal moment for 
British Film Production to join 
hands with our colleagues on the 
Continent, in order to make the 
kind of pictures which we should 
otherwise never make, in order to 
make more pictures than would 
normally be made in this country. 

which had been paid by the people 
of this country) had an American 
producer, an American director, an 
American script and one or more 
American stars; and each of these 
films was given British Quota, and 
all of them are eligible for money 
from the Eady fund, a fund 
specially created to help British 
producers in their struggle against 

overwhelming odds! 

Maybe I should mention here 
that I have no intention of attack- 
ing Hollywood. The Americans 
make pictures of world-wide 
appeal. In production, distribution 
and exhibition they believe them- 
selves to be champions, and they 
defend their title with the same 
stamina and enthusiasm for the 
rules of the game as did Rocky 
Marciano in his fight against Don 
Cockell. I do not blame Hollywood 
for going all out for their pictures. 
I blame us for failing to look after 

What, you may ask, has all this 
got to do with co-productions ? I 
will tell you. 

The advent of Cinemascope, 
VistaVision and the like has 
brought in its wake the trend 
towards bigger films. The longer 
and costlier they get, the smaller 
is the number of films actually 
being made. 

The Basic Pattern 

On the Continent of Europe, the 
leading film producing nations 
have got together. Their respec- 
tive Trade Ministries have worked 
out a formula which brought into 
being the so-called twin-produc- 
tions, jointly financed and pro- 
duced by two nations under certain 
rules mutually agreed upon by the 
industries and Trade Ministries of 
both countries with the one tre- 
mendous advantage that the 
pictures thus created by both 
countries should be eligible for 
quota in both countries. To illus- 
trate the procedure, here, very 
briefly, is the basic pattern of the 
co-production Agreement between 
France and Italy: 

1. A French and mi Italian pro- 
duction company agree to 
make two films, one in France 
and the other in Italy. In Pic- 
ture 'A' the studio work is 
done in France, in Picture 'B' 
in Italy. 

2. Each company provides one 
French and one Italian Pro- 
ducer to work on both pictures. 
In Picture 'A' the Director is 
Fnnch. in Picture 'B' the 
Director is Italian. Key per- 
sonnel on both films are ap- 
pointed and shared by mutual 

April 1957 



agreement on a 50/50 basis. 

3. Production costs are shared on 
either a 50/50 or a 60/1,0 or a 
70/30 ba^is, the proportion to 
be reversed in Picture 'B'. The 
French Producer retains the 
whole of the French-speaking 
territories, the Italian the 
whole of the Italian-speaking 
territories; the rest of the 
world is divided on the basis of 
each producer's financial con- 

4. In both pictures, one of the 
two stars is French, the other 

TRIES and are eligible for 
whatever production fund 
benefits (Eady money, VAide 
du Cinema, etc.) exist in the 
respective countries. 

France has co-production agree- 
ments with Italy, Germany, Aus- 
tria, Spain, Mexico, Argentina and 
Japan. The average production 
cost of a purely French top feature 
is estimated at about £80,000, 
whereas the average production 
cost of a co-production top feature 
works out at about £182,000. It is 
evident, therefore, that most of 
these co-productions could never 
have been made but for the inter- 
European agreements. 

It is equally clear that these co- 
productions did not only not cut 
down on domestic production but 
were in fact instrumental in in- 
creasing production, and thereby 
employment in the industries of 
the countries concerned. 

In this connection (a point of 
particular interest to all A.C.T.T. 
members) it is necessary to have a 
look at production figures in 
France over the last five years 
when co-productions began to get 
into their stride, and compare 
them to the corresponding figures 
in this country. The French pro- 
duction figures were given me by 
Unifrance Film, the British figures 
by the British Film Producers' 
Association. Owing to the single 
feature programme operated in 
France and most other European 
countries, the average length of a 
top French feature is about 
9,000 feet, whereas the figures 
quoted by the B.F.P.A. include all 
films from 6,000 feet upwards. 

Co-productions, the figures in 
the table below appear to suggest, 
mean an increase of production 
and improvement of the employ- 
ment situation. But this will only 
apply to this country if we manage 
to evolve the right formula. Only 
if genuine British finance and 
genuine European finance are 
allowed to be used for these twin- 
productions, and only if the Board 
of Trade or a body appointed by it, 
acts as controller before granting 
quota, can the scheme be made to 

American stars have commanded 
the British Army, Navy and Air 
Force in order, we were told, to 
conquer the American market — 
just as incongruous perhaps and 
just as rewarding, but hardly for 
the British Producer. 

Genuine co-productions, how- 
ever, will carry the British way of 
life into the heart of the continent 
of Europe. Because of the double 
quota, our co-productions will get 
the same showing as any French 
picture in France and any Italian 

A British-Italian Film 

work here. Without this safe- 
guard, production could be reduced 
rather than expanded. 

Still, if the producers of the 
other European nations were able 
to protect their own vital interests, 
then surely our own organisations 
should contrive to do the same. 

But there is more to this co- 
production idea than greater out- 
put and employment. It is a two- 
way traffic of ideas and ways of 
life. Occasionally, it may be mis- 
used. British-European co-produc- 
tions may cast Gina Lollobrigida as 
a Highland lassie or Anna Neagle 
as Mistinguette. The results may 
be incongruous yet highly reward- 
ing. But I seem to remember 
that in the not so distant past 




French Co- 
































picture in Italy. The names of 
our sta^s will become household 
words in Europe as much as they 
already are in this country. And 
we shall get a glimpse into the 
way of life of the other European 
nations. We shall realise that 
basically we all have the same 
problems and look for the same 
things in life: how to live decently 
side by side with fair shares for all. 

Co-productions can forge a link, 
an important link, between Britain 
and the Commonwealth on the one 
hand and the continent of Europe 
on the other. That alone should be 
a good enough reason to call them 
into life. 

Ivor Montagu 

We regret that Ivor Montagu's 
name was inadvertently omitted 
from the list of members elected 
to the General Council by A.G.M. 
published in the March issue of 
the Journal. 



April 1957 

Book Review 



Samuels. 5th Edition — Stevens 

Mr. H. Samuels is a barrister 
well known to members of A.C.T.T. 
for the cases he has conducted on 
its behalf and the other legal 
assistance he has given to it. 
Members of the Union will, there- 
fore, be interested to know that 
the fifth edition of his book on 
Trade Union Law has been pub- 
lished. Five editions in ten years 
shows that the book has been 
found generally helpful to the 
trade union movement, and there 
is not much in print which sets out 
trade union law so simply and 

There are few areas of law 
which so much need rationalisa- 
tion. Trade Union law is still 
based on the old common law 
which held that trade unions were 
illegal because they are in restraint 
of trade. It would surely be sen- 
sible now to replace this with a 
modern code. 

A writer in The Modern Law 
Review recently suggested that, 
in addition to the removal of this 
common law stigma, consideration 
should be given to universal regis- 
tration of trade unions, the render- 
ing enforcible of all contracts with 

and within a union, a modification 
of the absolute immunity from 
being sued for wrongs, such as 
negligence, and provision for mem- 
bers to sue on collective agree- 
ments made for their benefit. 

Trade unions have a long history 
of conflict with the law which 
tends to make them suspicious of 
law and sometimes also of lawyers. 
This was very natural in days gone 
by but such an attitude should now 
be regarded as old fashioned. 
Trade Unions are some of the most 
powerful bodies in the state and it 
would perhaps be unnecessary for 
them to view with hostility any 
proposal for rationalising trade 
union law. 

However this may be, there are 
many cases which come before the 
courts which concern unions. Mr. 
Samuel's book is not a substitute 
for legal advice, but it is very de- 
sirable for those who are dealing 
with union affairs to have an out- 
line knowledge of trade union law. 
This is what Mr. Samuels provides. 

In the next edition he might use- 
fully substitute a set of model 
rules for the first appendix on the 
1946 Act which is now no longer 
necessary. This edition should 
have a wide circulation. 

Robert S. W. Pollard. 

Film-Making in Hungary 


Six months have passed since 
the beginning of the insurrection 
in Hungary, and conditions are 
now improving again. Budapest 
cinemas reopened very soon after 
the fighting stopped, and the pro- 
ductions that were held up by the 
October events are being com- 
pleted in the Hungarian studios, 
and some of them are already be- 
ginning to entertain the film- 
hungry citizens of Budapest. 

Like us, the Hungarians are 
great filmgoers — you have to book 
ahead to be certain of a seat in 
Budapest, despite the number of 
cinemas- but they see a far richer 
variety of pictures from all corners 

of the globe than we are privileged 
to enjoy. 

When I was there last Summer, 
I heard a lot of praise for such 
British comedies as Genevieve and 
Laughter in Paradise, as well as 
the more sophisticated humour of 
Anthony Asquith's The Importanci 
of Being Ernest. Among the latest 
Hungarian productions are a num- 
ber of home-made comedies — two 
of them with a football background, 
one of which I saw being filmed at 
the mammoth People's Stadium in 

Our cover still this month is 
from The Football Star, and shows 
Laszlo Ungvary playing the part 

of the would-be dictator of the 
imaginary State of Footballia, 
where the position of the Govern- 
ment depends on whether the 
national soccer team wins the 
international championship. The 
Council of Ministers agrees to buy 
the best player from the Hun- 
garian team at any price, but the 
Admiral entrusted with this 
mission buys the wrong man — an 
error which is only discovered just 
before the decisive match! Ferenc 
Puskas, Sandor Kocsis and the 
other members of the Hungarian 
national football team are guest 
artists in the picture. 

Fortune Smiles 
The other soccer comedy, A Tale 
of Twelve Points, is about four 
people who join together to form 
a syndicate to enter for the State 
football pool; fortune smiles on 
them and they get the winning 
twelve forecasts — but next day 
they learn with disappointment 
that so many others won that week 
that each one's share is quite in- 

These two comedies, which 
sound as if they would be very 
popular over here, show part of the 
trend in Hungarian pictures re- 
cently (and more especially since 
the coming of the new govern- 
ment), for more warmth and 
humanity in the subjects produced 
and in their treatment. 

Separate Union 

There are virtually no film 
actors and actresses who work 
only for films, as they all also get 
engagements on the stage and on 
the radio. It is generally held 
that the best film artistes are the 
stars of the stage classics, amongst 
which Shakespeare and Moliere are 
very popular. 

Trade Union organisation is now 
on a different basis, as all film 
workers are in a separate Union 
from other entertainment workers 
— until a little while before the 
October events they were all in the 
same Union. 



A.C.T.T. Badges and Brooches 

can be obtained from Head 


BADGES - 2/- 


post free 


April 1957 


Every film maker and technician, 
whatever his grade, who takes 
cinema seriously, should subscribe 
to, borrow, or steal the new Ameri- 
can film magazine Film Culture. 

Its claim and desire is to ad- 
vance the study " of a more pro- 
found understanding of the func- 
tion and aesthetics of Cinema ". 

The first few numbers contain 
articles like " For a Universal 
Cinema" by Orson Welles (about 
censorship and stupid customs 
rules), articles by Joris Ivens, Hans 
Richter, two Synopses by Stroheim 
and reviews of world productions. 

In particular there is a splendid 
contribution by George Fenin on 
•' Motion Pictures and the Public," 
showing how desperate Hollywood 
is becoming with new public tastes 
and demands both at home and 
abroad. He thinks Hollywood is 
becoming " a spiritual desert in 
glorious technicolor ". 


" The enigma of film making is 
that it is at once a dictatorship and 
a democracy — the dictatorship of 
the creator who makes absolute his 
conception of how the script should 
be transferred to the screen; and 
the democracy of scores of highly- 
skilled technicians, who must work 
as a team, pooling their knowledge 
and experience, to make that 
transition from the script." — Billy 
Wilder in " Films and Filming ". 

Financed by Church 

The powerful Presbyterian 
Church in America, according to 
Dr. Ch. Leber in the " Kine ", has 
put up half a million dollars for an 
Eastmancolor Superscope feature 
titled Accused. 

Why has the church gone in for 
financing features? 

"We wanted to make an impact, 
and commercial cinema is still the 
most opinion-forming medium in 
the world," says Dr. Leber. 

The church is not asking to be 
associated with the film. It is being 
made by Film Productions Inter- 
national, a Hollywood company. 

" This picture doesn't preach 
anything," he explains. " The fact 
is the church has a story to tell, 
which it believes must be told. It 
deals with the problems of racial 
equality and the rights of self- 
determination ". Well, whether he 




Congratulations to Ken Danvers who has once again won " The Cinema's " Still 

of the Year Award, this time with the magnificent still reproduced above from 

the American film " The Pride and the Passion " 

calls it preaching or not it's cer- 
tainly needed, especially in places 
like Alabama and South Africa. 

Lewis McLeod. 


Just as we were going to press 
we learned of the marriage of two 
stalwarts of the Editorial Section, 
Stan Hughes and Norma Bremson, 
daughter of E.C. member Sid 
Bremson. We wish them happiness 
and prosperity. 


Technicolor are the latest to 
sponsor a wide screen system. 
Teehnirama, as the system is 
called, employs standard 35mm. 
negative which moves horizontally 
through the camera exposing an 
eight perforation picture as in 
Vista- Vision. An anamorphic or 
CinemaScope type Technicolor 
release print made from the Teeh- 
nirama negative allows for maxi- 
mum use of the available positive 
frame. (American Cinemato- 




April 1957 

General Council in Session 


amining the needs of specialised 
film production for trainees and 
newcomers; the resolution would 
also be borne in mind during the 
discussions that had started just 
before the A.G.M. with the British 
Film Academy, and it was also 
referred to the New Entrants 

A petition is soon to be launched 
by the Union as a further step 
in the campaign to get the 
Kodak management to recognise 
A.C.T.T. This was one of the de- 
cisions taken by the first meeting 
of the newly-elected General Coun- 
cil, following the unanimous adop- 
tion at the Annual General Meet- 
ing of the resolution strongly 
urging the Council to examine all 
means of bringing pressure to bear 
on Kodak with the object of 
achieving Trade Union recognition. 
Head Office is to prepare the peti- 
tion in conjunction with our mem- 
bers at Kodak, and it is to be 
signed by leading technicians, in 
order to show the management 
that the question of recognition 
has the support of the Union as a 

" DREYFUS CASE ". The Acting 
General Secretary reported that 
the Ministry of Labour had 
granted permits both for an 
American Producer (Sam Zim- 
balist) and a Director (Jose Ferrer, 
who was also starring in the film), 
to work at M-G-M, despite the 
objections from A.C.T.T. The 
matter was being pursued with the 
Company and with the firm sup- 
port of the Producer/Directors' 
Section and the General Council. 

Acoustic Shop Steward, Bob 
Langdon, reported that the 
A.C.T.T. Shop Committee recom- 

mended that our members stop 
work with the A.E.U. members for 
as long as the dispute with the 
Engineering Employers' Federa- 
tion lasted. After discussion, the 
Council agreed to instruct mem- 
bers to abide by normal Trade 
Union action, by which they would 
refuse to handle any work nor- 
mally done by A.E.U. members in 
dispute, and that in the meanwhile 
the Executive Committee would 
examine the best ways and means 
of assisting its brothers at British 
Acoustic. It was further agreed to 
contact the A.E.U. to find out in 
what way our assistance at B.A. 
could be given. 

On a recommendation of the 
Laboratory Committee it was 
agreed nem. con. to give financial 
support to the Confederation of 
Shipbuilding and Engineering 
Unions in their dispute and that a 
circular should go out to Shop 
Stewards about it. The Executive 
has donated £100. 

1957 A.G.M. DECISIONS. A num- 
ber of the resolutions passed at the 
Annual General Meeting were con- 
sidered by the General Council. 
On the resolution instructing the 
General Council to do all it can to 
revive any joint machinery with 
employers and other bodies which 
will ensure a suitable and con- 
trolled supply of new entrants into 
the film industry, the Council 
agreed to remind the A.S.F.P. of 
the clause in the A.S.F.P.-A.C.T. 
Agreement on the question of ex- 


for one tour of 12/24 months in first instance. Fixed salary (including 
Inducement Addition) £1,600 a year. Gratuity at rate £150 a year. Free 
passages for officer and wife. Assistance towards children's passages 
and grant up to £150 annually towards maintenance in U.K. Liberal 
leave on full salary. Candidate must have a thorough knowledge of all 
aspects of cine film processing both 16mm. and 35mm. and will be 
required to open up and run a small laboratory and to train African 
staff. Write to the Crown Agents, 4 Millbank, London, S.W.I. State 
a^e, name in block letters, full qualifications and experience and quote 

BERS AT A.G.M.s. The whole 
problem of devising machinery 
whereby members on duty at the 
time of the A.G.M. and those 
working in provincial centres be 
given full and proper opportunities 
of expressing their wishes was re- 
ferred to the Executive to prepare 
a report. 

solution urging the Government to 
revive the former policy of 
generous and imaginative sponsor- 
ship of documentary films to make 
known at home and abroad the 
problems and achievements of the 
British people, it was agreed that 
Dr. Charles Hill, M.P., the Govern- 
ment's co-ordinator of the infor- 
mation services, be asked to re- 
ceive a deputation; the resolution 
would also be sent to the A.S.F.P. 
for information. 

of the resolution calling upon the 
Government to establish a 
National Film Unit under a 
National Film Board would be sent 
to the Prime Minister, the 
Treasury and the Leader of the 

STANDARDS. This resolution, 
which urged the General Council to 
accept responsibility for promoting 
the highest professional and 
artistic standards in technique and 
content, as well as its responsi- 
bility for industrial terms and con- 
ditions, was referred to the Execu- 
tive for recommendations to be 
given to a future Council meeting. 


resolution, which called on the 
Government to establish a National 
Film Circuit in order to stimulate 
British production and give scope 
to independent pictures would be 
sent to the President of the Board 
of Trade, the Film Committees of 
both the Labour and Conservative 
Parties, and the other film unions; 
it was also referred to the Legis- 
lation Committee to discuss how 

April 1957 



the A.C.T.T.'s national film policy 
could be popularised. 


The Feature Branch Committee 
and Feature Negotiating Com- 
mittee were asked to make their 
joint recommendations to the 
Executive on the resolution de- 
manding immediate negotiations 
with the B.F.P.A. for a substan- 
tial wage increase for all members 
covered by the B.F.P.A. /A.C.T.T. 
Feature Agreement, as well as on 
the resolution that called for an 
examination of the supplementary 
grades in the B.F.P.A. Agreement 
with a view to including certain 
of them in the ordinary schedule. 


The request from Colour Film Ser- 
vices members to negotiate with 
the F.L.A. the inclusion of Koda- 
chrome in the Integral Tripack 
Agreement was considered and re- 
ferred to C.F.S. members for them 
to prepare a case for presenting 
to the F.L.A. 

TELEVISION. The two resolu- 
tions on this subject were con- 
sidered in the light of the debates 
at the A.G.M., which were fully 
reported in the Film & TV Tech- 
nician last month; in parti- 
cular, the need for a fast time- 
table in negotiating a new TV 
Agreement with the Programme 
Contractors' Association was 

Camera Hire 

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FINchley 1595 

stressed by a number of Council 
members and Shop Stewards from 
all side of the industry. The first 
resolution, which among other 
things drew the attention of the 
Postmaster-General and the T.TJ.C. 
to the fact that the B.B.C. still 
refused to recognise A.C.T.T. in 
the television field, would be sent 
to the Postmaster-General and the 
T.U.C. It was further agreed that 
an Organiser should be allocated 
full-time to TV work, and that the 
Finance and General Purposes 
Committee should go into the need 
to engage extra Head Office staff 
in consultation with George Elvin. 
The whole question of recognition 
for A.C.T.T. by the B.B.C. was 
referred to the Executive. 

lengthy discussion it was agreed to 
circularise all Shop Stewards with 
the resolution urging that no 
member of A.C.T.T. should be 
allowed to proceed on film or TV 
foreign location, with the excep- 
tion of urgent newsreel assign- 
ments, without notifying Head 
Office and checking that the terms 
and conditions of the location had 
been cleared. 


We announce with deep regret 
the death of Arthur Bushnell, 
known to everybody as " Busby ", 
who first joined the industry 
during Rome Express at Lime 
Grove. He started from the Royal 
Navy, where he was a telegraphist, 
on maintenance, and became mixer 
for G.B. News after the 1937 

" Busby " was the happiest man 
in the studios and had the readiest 
and most infectious laughter I 
have ever known. One executive 
said it was impossible to tell Busby 
off; he just laughed in your face. 

Busby was a staunch trade 
unionist, not one of the spectacular 
type but of the solid kind that 
every organiser and shop steward 
likes to have behind him. He 
started with the E.T.U. (Sound 
Branch) at a time when it was 
dangerous to admit you were in a 
trade union and changed to 
A.C.T.T. with the other sound men. 

Everybody who knew him will 
miss him. 



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GER 4633 



April 1957 

LAB TOPICS — By A If Cooper 

At the first meeting of the 
Laboratories Committee after the 
A.G.M. Daphne Le Brun was again 
elected as Secretary, George Irons 
re-elected as Vice-Chairman and 
myself as Chairman. The commit- 
tee also officially recorded their 
appreciation and thanks for the 
work put in for the Labs by Bessie 
Bond during the year. 

The Committee directed that the 
new General Council be asked to 
look into ways and means of pur- 
suing a stronger and more 
vigorous campaign to remove the 
iniquitous regulation in the Un- 
employment Act which enables the 
employers to lock out employees 
and thus, with the aid of this Gov- 
ernment regulation, starve the 
workers into submission because 
unemployment pay is not forth- 

Strong Feeling 

As you know, all the Lab boys 
feel most strongly about this one- 
sided Act. It is to be hoped that 
the new General Council, with the 
aid of progressive M.P.s and the 
T.U.C., will get this matter put 
right in the near future. It is only 
fair to state here that the General 
Council has made a lot of progress 
in this direction but it still has a 
long way to go. 

During the Lab Committee meet- 
ing, Alf Hunter, who has been 
attending the Committee on behalf 
of Colour Film Services for the 
last eighteen months, handed in his 
resignation because his wife's ill 
health makes it impossible for him 
to be absent from home during the 
evenings. The Committee ex- 
pressed its regret at hearing this 
news and thanked Alf for the 
great amount of work and effort 
he has put in for A.C.T.T. during 
his period as Shop Steward at 
Colour Film Services. 

Alf has been with the Union 
something like twelve years and on 
leaving Technicolor soon found 
himself a Shop Steward's ticket. 
We all sincerely hope that his 
wife's health will soon improve. 

Some of the Committee members 
were invited to attend the next 
meeting of Colour Film Services. 
Bill Whittemore from Humphries, 
Laurie Ward of Kays, Finsbury 
Park, and I went along to this 
meeting on the following Friday 
evening and had a very enjoyable 
time among a bunch of good, loyal 
Union boys. 

At the moment our members at 
Colour Film Services are working 
without the protection of a full 
Trade Union Agreement. This is 
one of the points the meeting de- 
cided must be put right in the very 
near future and so, having elected 
a new shop steward and committee, 
they mandated them very force- 

fully to get on with the job of 
preparing a document ready for 
joint signature with the manage- 

Peter Booker was elected as 
Shop Steward and Alf Hunter as 
his deputy, Bob Catford was re- 
elected Chairman and Ted Davies 
as Shop Secretary. 

We all wish the C.F.S. boys good 
luck with their Agreement and, as 
always, we will give them all the 
support and help that may be re- 

Shorts & Documentary Section 


Our Section A.G.M. held at the 
Mezzanine Theatre, Shell Mex 
House, on March 26th, was very 
successful, and very well attended. 

The Secretary's report led to 
some discussion regarding adver- 
tising agents and companies 
making TV commercials. Helpful 
contributions were made from the 
floor and I am sure the new Com- 
mittee, will note the points raised. 

New Committee 

The new committee elected at 
the meeting is as follows: Shorts 
Vice-President Max Anderson, 
Chairman; Eric Pask, Vice-Chair- 
man, and Steve Cox, Secretary; 
Committee members : Ralph Bond, 
Gloria Sachs, Chris Brunei, Derek 
Knight, Ralph Sheldon, Lindsay 
Anderson, Joe Telford, Alun Fal- 
coner and Denis Segaller. 

It will probably be noticed that 
we have six new faces on the Com- 
mittee to look after our interests 
for the next twelve months. On 
behalf of the Section I should like 
to thank the members who were 
not re-elected for their services 
during their term of office. 

Now, as Secretary, I want to 
apologise to Bessie Bond, our 
Organiser, for not mentioning in 
my report the assistance and guid- 
ance she has given us and all the 
work she has done for our Section. 
Thank you, Bessie, and please ex- 
cuse my thoughtlessness. 

To wind up the meeting we had 
a viewing of Song of the Clouds, 
a colour film made by the Shell 
Film Unit and directed by John 

Sponsored by Shell, the film dealt 
with air travel on the major air- 
lines of the world. It is intended 

for non-theatrical distribution. 

After the showing, John Arm- 
strong took the Chair to be " shot 
at " during the discussion. The 
general feeling was that the com- 
mentary was poor, that the music 
didn't do what effects could have 
done, and that the passengers, or 
tourists, gave the impression of not 
leaving the ground. But the photo- 
graphy was first class. 

Personally, I also felt that 
dozens of aircraft were leaving the 
airstrip together, and it seemed a 
miracle that there wasn't a " pile- 
up ". 

Didn't Come Off 

To sum up the discussion, it 
seems as though something big in 
Documentary had been attempted, 
but that it didn't come off. 

We also saw another Shell Film, 
directed by Denis Segaller, called 
Lubrication in Industry. This film 
had a " gimmick " of going alter- 
nately from black and white to 
colour. There was no time for dis- 
cussion afterwards, but I did glean 
some points of view, which all 
boiled down to the fact that the 
" gimmick " wasn't necessary. "All 
or none ", was the verdict. 

Now for the News; and what a 
news flash ! For making this an- 
nouncement I shall probably have 
my invitation withdrawn ! Many of 
our members in Shorts and in 
the Labs may be surprised to read 
this. Eric Pask, our Vice-Chairman, 
has decided that being a bachelor 
calls for paying too much income 
tax, so on May 11th he is going to 
the altar with a very charming 
Brummie lass, Joan Robinson. The 
wedding and reception will take 
place at Birmingham. Best of 
luck Eric and Joan (I say this on 
behalf of all of vou). 

April 1957 




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by Colour Film Services Limited— Britain's biggest 16 mm Kodachrome laboratory. 

22-25 PORTMAN CLOSE • BAKER STREET • LONDON • W.l. Telephone: Hunter 0408-9 




April 1957 

a clear case for 


35 mm cine negatives 

Columbia Pictures present a Maxwell Setton Production 



also starring DEREK FARR 

and introducing Elizabeth Seal 

Screenplay by Robert Westerby and Ken Hughes 

Produced by Maxwell Setton 

Directed by John Guillermin 

Director of Photography : Basil Emmott 

Photographically speaking exposures are invariably a problem 
for a Director of Photography. In this man-by-man murder 
puzzle Basil Emmott was very satisfied with the results he 
obtained from using Ilford HP3 and FP3 cine negatives. 


35 mm cine negatives 

Ilford Limited Cine Sales Department 104 Hts;h Ho/born London W.C.I ' Holborn 3401 

Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
Square, London, and Printed by Watford Printers Limited. Watford, Herts. 

MAY .... 1957 

Association of Cinematograph, Television and Allied Technicians 
Vol. 23 No 149 PRICE 6d. 






Charlie Chaplin in the British Film "A King in New York' 



May 1957 


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by Colour Film Services Limited— Britain's biggest 16 MM Kodachrome laboratory. 

22-25 PORTMAN CLOSE • BAKER STREET • LONDON • W.l. Telephone: Hunter 0408-9 


May 1957 


'* Vtattum of ModJ^I Art 




TYJE can well understand little 
" enthusiasm being displayed by 
the delegates to the Summer Con- 
ference of the Cinematograph Ex- 
hibitors' Association when listen- 
ing to the paper read by their 
guest and fellow-member Mr. John 
Davis. After all no one likes be- 
ing told they are out of date, ineffi- 
cient, excessive in number and will 
have to go out of business, stric- 
tures which, as the speaker said, 
applied to many of Mr. Davis's 
audience. You like it less still 
when told the facts of life by the 
managing director of the in- 
dustry's biggest combine which 
very much intends to stay in busi- 
ness, whoever else is forced to the 
wall. But it is not out of sympathy 
for impoverished and incompetent 
cinema-owners that we adopt the 
unusual course of summarising at 
length in subsequent pages the 
address given by Mr. Davis. Our 
views and policy on the economics 
of the monopolistic tendencies in 
the industry are well known. It is 
because Mr. Davis is one of the 
largest and certainly the most in- 
fluential employer of our members 
and the first person, other than the 
Trade Unions, who has given real 
thought to the place of films in a 
changing world. 

One of the most significant 
views he expresses is the anticipa- 
tion that Hollywood will lose its 
grip on the world's markets. 
Whether this is coloured by the 
fact that the American industry 
doesn't like Mr. Davis — and we 
hazard the reverse also holds good 
— is a matter of conjecture. Be- 
cause of American product short- 
age Mr. Davis anticipates an in- 
creasing number of dubbed foreign 
films being shown on our screens, 
the European films commanding 
quotas as British films do now. If 
such films are shown at the ex- 
pense of American films the idea 
is well worth investigating, and 
the intention is to have a Euro- 
pean Common Market to smash 

the stranglehold Hollywood has 
had on our screens for the past 
forty years. However, we don't 
think shortage of product alone, 
particularly bearing in mind the 
change in exhibiting technique by 
road showing and longer runs, will 
necessarily lead to America losing 
its grip on the world's markets. 
But we must at all costs avoid a 
position whereby on the score of 
European unity we destroy the 
individuality of each national pro- 
duction industry — and incidentally 
adversely affect employment — as 
in that course lies death not life. 
But as members know, all the 
problems of co-production, impli- 
cit in Mr. Davis's proposals, were 
discussed as recently as our last 
Annual General Meeting. 

One gathers that Mr. Davis 
almost sees the motor-car as a 
greater competitor to the cinema 
than television. A rather odd 
thought from the man who distri- 
buted Genevieve'. But at least 
he is right in coming round to our 
point of view that cinema films 
and television are complementary 
parts of one big entertainment in- 
dustry, and it is foolish for one to 
continue to seek to ignore and try 
to combat the existence of the 

But when it comes to solutions 
we must part company with Mr. 
Davis. Rationalisation, modernisa- 
tion, efficiency — all, of course, ad- 
mirable in themselves — are his 
solution. No mention is made of 
the tightening monopolistic con- 
trol which such processes will put 
in his, and 
others', hands; 
no thought of the 
social implica- 
tions of his 
policy; certainly 
no word about 
the workers who 
are to lose their 
jobs through 
these processes. 

We welcome Mr. Davis making 
his statement. We applaud its 
lucidity. We are grateful for his 
criticisms of incompetent and out- 
moded exhibiting and renting in- 
terests. Many of the problems 
posed are vital. A number of his 
thoughts are new and should be 
examined by us all. The joint 
committee of the British Film Pro- 
ducers' Association and the Trade 
Unions should discuss them. But 
in so doing we must face up to 
the issue, which Mr. Davis ignores, 
that in passing from a haphazard 
industry to a ruthlessly efficient 
one, meeting all the challenges of 
the times, we also have to safe- 
guard both the public good and 
that of the workers in the industry 
by having that measure of public 
control, social ownership and joint 
industrial responsibility which is 
essential for those purposes. 


Our New Cover 

E appear this month in our 
new cover, which symbolises 
the growing importance of Tele- 
vision. The design, by Jack Timms, 
Lettering Artist at Denham, was 
the winning entry in our Cover 
Design Competition. This month's 
cover still shows A.C.T.T.'s most 
recent Honorary Member, Charlie 
Chaplin, in the British film A King 
in New York, which was shot at 
Shepperton Studios. The film is 
distributed in the United Kingdom 
by Archway Film Distributors, to 
whom we are indebted for the still. 



Editorial Office: 

2 SOHO SQUARE, W.l (GERrard 8506) 

Advertisement Office: 

5 & 6 RED LION SQ., W.C.I (HOLborn 4972) 



May 1957 

Tj^OCUS this month is on the Tele- 
-*- vision side. At the time of 
going to press our Television 
members have endorsed the Tele- 
vision Agreement proposals and 
they have been sent to the Pro- 
gramme Contractors. It is a 
worthwhile question to ask 
whether the Association of Broad- 
casting Staffs has put its nego- 
tiating proposals before its mem- 
bership in commercial television. 

In the meantime, local repre- 
sentations from A.C.T.T. in 
Granada and A.R.T.V. have won 
high premium payments for the 
staffs over Easter. Our policy of 
local achievement as well as the 
struggle for a proper national 
agreement is winning increasing 
membership in such companies as 
Alpha Television in Birmingham 
and A.T.V. in London. 

It is perhaps symbolic of the 
situation in commercial Television 
and the difficulties of obtaining 
just rates and conditions for tech- 
nicians that a contract reputed to 
be worth over £100,000 per year 
has recently been signed for the 
purpose of supplying " audience 
data ". For the purpose of supply- 
ing top technical ability the re- 
sources seem to be a little more 

Under Fire! 

Typical— but not too typical, 
I hope — of the hazards of working 
in Television is the experience suf- 
fered by Herbert Wise, director of 
Granada's Under Fire programme. 
The programme has two M.P.s in 
London questioned by an audience 
in the Manchester studio on some 
burning issue of the day. 

On this occasion the M.P.s were 
under fire from the local doctors 
concerning the B.M.A.'s pay claim 
^"i their behalf. Herbert was busy 
in the last hour before the pro- 
gramme went on the air organis- 
ing the main spokesmen — reassur- 
ing the doctors on their first TV 
i|" 'arance. The last points had 
boon cleared up, everyone was 
keyed up ready to go on the air 
when in walks a technician and 
anxiously announces that the 

Government has awarded a pay 
increase to the doctors! 

For several horrible minutes it 
seemed that not only was the pro- 
gramme " under fire " but rapidly 
going down in flames. Luckily it 
turned out that the news an- 
nouncement had been misinter- 
preted and the doctors were able 
to go forward with their interro- 

Herbert Wise seemed to take the 
situation calmly enough — one can 
only suppose that experiences like 
this in TV are added to the ulcer 
bill. For Herbert the evening had 
only started with this incident. 
Midnight found him in the outer 
reaches of Manchester helping to 
change the tyre on his taxi! 

Quote . . . 

The " Daily Express" — certainly 
no lover of commercial Television, 
but like our members, very con- 
cerned about the amount of filmeo* 
American material that is appear- 
ing on TV recently, had this to 
say, " The B.B.C.'s leaning to- 
wards American TV this week 
adds up to a solid 8 hours 20 
minutes of States-side imported 
stuff. . . . Even commercial TV, 
notorious customer for the Ameri- 
can stockpile of canned film, could 
not compete . . . we are being bull- 
dozed by noise, dubbed applause, 
and slickness, into a state of 
hypnotism ... if the B.B.C. sets its 
mind to paying, nurturing, and 
giving the same professional treat- 
ment to British script writers as 

The TV Quiz Show is, by Ameri- 
can standards, I suppose, still 
much in its infancy. The whole 
operation would seem to be a 
pretty innocent one. From an 
article in Time magazine this 
would seem to be far from the 
case with the myriad quiz pro- 
grammes on the U.S. Television 

Time asks the question " Are 
the quiz shows rigged? " and 
answers it by saying that the pro- 
ducers of many quiz shows control 
the outcome as closely as they 
dare — without the actual collusion 
of the contestants. 

So little is apparently left to 
chance that a new group of crafts- 
men calling themselves " audience 
participation comedy writers " has 
arisen. On some shows they even 
write the ad-lib banter between 
contestant and questionmaster. 

One of the biggest problems 
seems to be how to get rid of the 
contestant who does not make 

To get rid of the contestant " 

good entertainment and how to 
encourage the dramatic person- 
ality who might fall down on the 
tough question. On one show 
candidates cannot qualify for the 
show without taking a four-hour, 
363-question test. Said one pro- 
fessor, " The questioning was com- 
parable to an oral exam, for a 

Veteran Honoured 

Veteran Producer - Director, 
Adrian Brunei, father of Chris 
Brunei, Executive Committee 
member, was recently in Italy 
and was honoured by the Mayor 
of Rome. He was presented with 
a silver medal in recognition of his 
writings on that city. Adrian 
Brunei's writings have not been 
confined to travel. Younger mem- 
bers should find " Nice Work ", 
Adrian's autobiography, a witty 
and instructive story of the early 
struggles of the industry. 

". . . into a state of hynotism " 

the Americans give to theirs, we 
might have a better product, and 
less dollar buying." 



May 1957 

Guide to British Film 


Year of Production: 1956. 

Studio: M.G.M. British Studios. 

Laboratory: Humphries. 

Producing Company: Ealing Films 

Producer: Sir Michael Balcon. 

Stars : Jack Hawkins, Elizabeth Sellars. 

Associate Producer: Seth Holt. 

Director: Charles Crichton. 

Camera Department: Lighting Camera- 
man, Douglas Slocombe; Camera 
Operator. Chic Waterson ; 1st Camera 
Assistant (Focus), Herbert Smith; 
Other Camera Assistant, Michael 
Sarafian ; Second Camera Operator, 
Hugh Wilson. 

Bound Department: Recordist (Mixer), 
Norman King; Sound Camera Opera- 
tor, Eric Stockl; Boom Operator, 
Cyril Swern; Other Assistant, Ray 
Palmer; Dubbing Crew, J. B. Smith, 
J. Bramwell, W. Carr, C. Jones. 

Art Department: Art Director, Jim 
Morahan; Assistant Art Director, 
Alan Withy; Draughtsman, Kenneth 

Editing Department: Editor, Peter 
Tanner; Assembly Cutter, Harry 
Aldous; Other Assistant, Robin 
Clarke; Dubbing Editor, Alastair 

Production Department : Production 
Manager and/or Unit Production 
Manager, Spike Priggen; 1st Assis- 
tant Director, Tom Pevsner; 2nd 
Assistant Directors, Michael Birkett, 
John Meadows; 3rd Assistant Direc- 
tor, Ronald Purdie; Continuity, Jean 
Graham; Assistant Continuity, Lee 
Turner; Production Secretary, Daphne 

Stills Department: Still Cameraman, 
Roy Gough; 2nd Cameraman, Gordon 

Publicity Director: Jack Worrow. 


Year of Production : 1956. 

Studio: Walton Studios Limited. 

Laboratory : Rank Labs, Denham. 

Producing Company: Gibraltar Pic- 

Producer: Steven Pallos. 

Associate Producer: Charles A. Leeds. 

Stars: Skip Homier, Paul Carpentei , 
Patricia Dainton. 

Director: Montgomery Tully. 

Scenarists: C. A. Leeds, M. Tully. 

Camera Department: Lighting Camera- 
man, Lionel Banes; Camera Operator, 
Leo Rogers; 1st Camera Assistant 
(Focus), Mark Hyams; Other Camera 
Assistant, D. Area. 

Sound Department: Recordist (Mixer), 
W. Lindop; Sound Camera Operator, 
H. Raynham ; Boom Operator. G. 
Humphries; Maintenance, C. Earl; 
Dubbing Crew, R.C.A. 

Art Department: Art Director, John 
Stoll; Draughtsmen, Supplied by 

Editing Department: Editor, James 
Connock; Assembly Cutter, Edward 
Jeffries; Dubbing Editor, James Con- 

Production Department: Production 
Manager and/or Unit Production 
Manager, Robert Dearing; 1st Assis- 
tant Director, George Pollard ; 2nd 
Assistant Director, Paul Freeman ; 
Continuity, Barbara Thomas; Pro- 
duction Secretary, Maureen Meldon. 

Stills Department: Still Cameraman. 
Ricky Smith. 

Publicity Department: Publicity Direc- 
tor, Horrace Beck. 


Year of Production: 1956. 

Studio: New Elstree Studios. 

Laboratory: Humphries Laboratories. 

Producing Company: Westridge Pro- 

Producer: Thomas Clyde. 

Stars: Ron Randell, Mary Parker. 

Director: Harold Huth. 

Camera Department: Lighting Camera- 
man, Brendan J. Stafford ; Camera 
Operator, Leo Rogers ; 1st Camera 
Assistant (Focus), Monty Tomblin. 

Sound Department: Recordist (Mixer). 
Stanley J. Smart; Sound Camera 
Operator, Derek Monk; Boom Opera- 
tor, Ted Belcher. 

Art Department: Art Director, Harrv 

Editing Department: Editor, Peter 
Pitt; Dubbing Editor, Harry Booth. 

Production Department : Production 
Manager, Barry Delmaine; 1st Assis- 
tant Director, David Tomblin; 2nd 
Assistant Director, John Roddicit; 
Continuity, Barbara Wainwright. 

Stills Department: Still Cameraman. 
Cyril Stanborough. 

Production Secretary: Gladys Houck. 


Year of Production : 1956. 

Studio: Pinewood. 

Laboratory: Rank Laboratories (Den- 
ham) Ltd. 

Producing Company: Rank Organisa- 
tion Film Productions Ltd. 

Producer: Hugh Stewart. 

Stars: Norman Wisdom, Jerry Des- 
monde, Maureen Swanson, Michael 

Prodtiction Controller: Arthur Alcott. 

Director: John Paddy Carstairs. 

Scenarists: Jack Davies, Henry E. 
Blyth, Peter Blackmore. 

Camera Department : Lighting Camera- 
man, Jack Cox; Camera Operator, 
Dudley Lovell ; 1st Camera Assistant 
(Focus), Jim Devis: Other Camera 
Assistant, Kenneth Coles. 

Souyid Department: Recordist (Mixer). 
Dudley Messenger; Sound Camera 
Operator, Charles Arnold;- Boom 
Operator, John Salter; Boom Assis- 
tant, A. Carverhill; Music, Ted 
Drake; Dubbing Crew. Gordon K. 
McCallum, W. Daniels, C. Le Mes- 

Art Department: Art Director, Cedric 
Dawe ; Assistant Art Director (Set), 
Graham Goodwin; Draughtsmen. Jack 
Shampan (Chief). Bob Cartwright, 
Bruce Grimes. 

Editing Department: Editor. John 
Shirley; Assembly Cutter, Peter 
Flack: Other Assistants, Michael 
Edmonds, Peter Taylor; Dubbing 
Editors, Jimmy Groom (Asst.), Les 

Production Department: Production 
Manager, Jack Hicks; 1st Assistant 
Director, Pat Marsden ; 2nd Assistant 
Director, Luciano Sacripanti; 3rd 
Assistant Director, Dominic Fulford ; 
Continuity, Joan Davis: Assistant 
Continuity, Maureen Hensby; Pro- 
duction Secretary, Ruth Grossman. 

Stills Department: Still Cameraman. 
Albert Clarke. 

Special Processes: W. Warrington. 
Bert Marshall, C. Culley, F. George. 
Unit Publicist: George Mason. 


Year of Production : 1956. 

Studio: Pinewood. 

Laboratory: Technicolor. 

Producing Company: Rank Organisa- 
tion Film Productions Limited. 

Producer: John Bryan. 

Production Controller: Arthur Alcott. 

Stars: Dirk Bogarde, Jon Whiteley, 
Michael Hordern, Lyndon Brook. 
Geoffrey Keen, Josephine Griffin. 
Rosalie Crutchley, Maureen Swanson. 
Cyril Cusack. 

Director: Phil Leacock. 

Camera Department: Lighting Camera- 
man: Chris Challis; Camera Opera- 
tor, Austin Dempster; 1st Camera 
Assistant (Focus), Steve Claydon ; 
Other Camera Assistant, Michael Fox. 

Sound Department: Recordist (Mixer), 
John W. Mitchell; Sound Camera 
Operator, Ron Butcher; Boom Opera- 
tor, J. W. N. Daniel: Boom Assis- 
tant, R. Charman; Music, Ted Drake; 
Dubbing Crew, Gordon K. McCallum. 
W. Daniels, C. Le Messurier; Sound 
Maintenance (Location). Austin Part- 

Art Department: Art Director. Maurice 
Carter; Assistant Art Director (Set), 
Vernon Dixon ; Draughtsmen, Bert 
Davey (Chief), Ramsay Short, John 
Jones, Bob Cartwright. 

Editing Department: Editor, Reg 
Mills; Assembly Cutter, Noreen 
Ackland; Other Assistant, Peter 
Bushell; Dubbing Editors. Harry 
Miller, Barbara Rodwell (Asst.). 

Production Department: Pioduction 
Manager, Peter Manley: 1st Assistant 
Director, Harold Orton ; 2nd Assis- 
tant Director. Charles Hammond; 3rd 
Assistant Director. Peter Carey; Con- 
tinuity, Joan Davies; Production 
Secretary, Jean Tisdall. 

Stills Department: Still Cameraman. 
Norman Gryspeerdt. 

Dress Designer: Maggie Furze. 

Unit Publicist: Jean Osborne. 


Year of Production: 1956. 

Studio: Walton-on-Thames. 

Laboratory: Kays Laboratories Ltd. 

Producer: W. G. Chalmers. 

Stars: Hugh McDermott, Jane Hylton, 
Honor Blackman. 

Director: Maclean Rogers. 

Scenarist : Maclean Rogers. 

Camera Department: Lighting Camera- 
man, Jimmie Harvey ; Camera Opera- 
tor, Des Davis ; 1st Camera Assistant 
(Focus), Manny Winn. 

Sound Department: Recordist (Mixer). 
Freddie Ryan; Sound Camera Opera- 
tor, Terry Sharrat ; Boom Operator, 
D. Somerset: Maintenance, G. Barnes. 

Art Department: Art Director, Bill 

Editing Department: Editor, Ben 
Hipkins; 1st Assistant, D. Hipkins. 

Production Department: Production 
Manager and /or Unit Production 
Manager, Fraser Foulsham ; 1st Assis- 
tant Director, Ralph McCormick; 2nd 
Assistant Director, Harvev Woods; 
Continuity, Margery Lavelly; Pro- 
duction Secretary. Sheila O'Donnell. 

Stills Department: Still Cameraman. 
Douglas Webb. 


May 1957 


The sound crew responsible for all 
Post /Synch (with the exception of one 
character) and all music sessions in 
Odongo (see March Supplement) were 
Maurice Askew (Mixer), Bill Germain 
(Assistant Mixer and Boom), Edward 
Li. Nakhimoff (Sound Camera Opera 01 
George Lewis (Maintenanci l 


Year of Production 11)50. 

Studio: Pinewood. 

Laboratory. Rank Laboratories (Den- 
ham) Limited. 

Producing Company: Rank Organisa- 
tion Film Productions Ltd. 

Producer: Leslie Parkyn. 

Production Controller: Arthur Alrott. 

Stars: Muriel Pavlow. Donald Sindcn, 
Tony Wright. 

Director: Roy Baker. 

Scenarist: Anthony Pelis ii 1 

Camera Department: Lighting Camera 
man, Geoff Unsworth; Camera Op' re 
tor, .la k Atcheler; 1st Camera A 
tant (Focus). John Alcott; Other 
Camera Assistant. Jack Ri son; 
Second Camera Operator, Robin 

Sound Department: Recordist (Mixer), 
Geoff Daniels; Sound Camera Opera 
tor, D. Barnett; Boom Operators. 
Pat Wheeler. R. Charman : Dubbing 
Crew, Gordon K. McCallum. V 
Daniels, C. Le Messurier; Music, T I 

Art Department: Art Director, Jack 
Maxsted; Assistant Art Director (Set), 
Len Townsend; Draughtsmen, H. 
Pottle (Chief), Tony Rimmington. 
Peter Lamont, Bob Eadie; Dre 
Designer, Joan Ellacott. 

Editing Department: Editor, John 
Guthridge; Assembly Cutter, Jim 
Kelly; Other Assistant, Maureen 
Howard; Dubbing Editor, Roger 
Cherrill; Dubbing Assistants, Stan 
Fiferman, Peter Pennell. 

Production Department: Production 
Manager, Fred Swan ; 1st Assistant 
Director, Peter Manley; 2nd Assis- 
tant Director, Tat Clayton; 3rd Assis- 
tant Director, Ron Jackson: Con- 
tinuity, Penny Daniels; Production 
Secretary, Pauline Davies. 

Stills Department: Still Camerama 1, 
Charles Trigg. 

Special Processes: W. Warrington 
Bert Marshall, C. Culley, Syd Pear- 

Unit Publicist: Bob Herrington. 


Year of Production: 1957. 

Studio: Walton. 

Laboratory Kays 

Producing Company: Winwell Prod 11 
tions Ltd. 

Producers: Bill Luckwell, D. E. A. 

Stars: Ron Randell, Greta Gynt. 

Director: Arthur Crabtree. 

Screenplay: Bill Luckwell, Len Town, 

Camera Department: Lighting Cami 
man, James Harvey: Camera Opera 
tor, Desmond Davis: 1st Camera 
Assistant 1 Focus). Manny Vosoa : 
other Camera Assistant, Petei Ma 

Sound Department Recordist (Mixer) 
Bernie Brown; Sound Camera Opera 
lor. Aubrey Lewis; Boom Operator, 
Kevin Sutton; Sound Maintenance 
Charles Earl. 

Art Department: Art Director, John 


l-'il'tuni Department: Editor John 
Ferris; 1st Assistant. Lollette Currie. 

Production Department: Production 
Manager and/or Unit Production 
Manager, Clive Midwinter; 1st Assis 
tant Director. Stanlej Goulder; 2nd 

A istant Direct or, T< m Wallis; Con- 
tinuity, Peggy Anderson; Produ ti 
Seci 1 I an Attrill. 

stills Departm nt Still Cameraman, 
Cyril Stanborough. 


Y< 'if of Production: 1956 7. 

Studio: Shepperton Studios. 

/ , nh in atoi a 11 umphries. 

I'i mlii, mo Company: John Harvel 
Product ions Ltd. 

Producers: Frank Launder and Sidnev 

Associate Producer: Leslie Gilliat 

Stars: Jack Hawkins, Arlene ' ahl 
Dennis Price, Ian Hunter, Bernard 

Director: Sidney Gilliat. 

Scenarists: Sidney Gilliat. Frank 
Launder and Val Valentin. 

Camera Department: Lighting Camera 
man, Gerald Gibbs; Camera Operator, 
Alan Hume; 1st Camera Assistant 
(Focus), Godfrey Godar; Other 
Camera Assistant, Ian Muir. 

Sound Department: Recordist (Mixer), 
John Aldred ; Sound Camera 

Operator, Desmond Edwards; Boom 
Operator. Charles Wheeler; Other 
Assistant (Maintenance), Georgi 
Widdows; Dubbing Crew. Red Law. 
Paddy Cunningham. 

Art Department: Art Director, Wilfrid 
Shingleton; Assistant Art Director. 
Frank Wilson; Draughtsmen. Martin 
Atkinson and Mrs. James Levis: 
Set Dresser. Kenneth Bridgeman : 
Dress Designer, Anthony Mendleson. 

Editing Depart mint: Editor, Geoffrey 
Foot; 1st Assistant. Michael Hart; 
Other A sistants, Marcel Durham, 
Alan Corder. Charles Morgan : 
Dubbing Editor. Chris Greenham. 

Production Department: Production 
Manager and/or Unit Production 
Manager, Roy Parkinson: 1st Assis- 
tant Director. Douglas Hermes; 2nd 
Assistant Director, Peter Price; 3rd 
Assistant Director, Roy Baird; Con- 
tinuity, Phyllis Crocker; Production 
Secretary, Cynthia Maugham. 

Stills Department: Still Cameraman, 
John Jay. 

Special Processes: Wally Veevers, 
George Samuels. 

Publicity Department Publicity 

Director, Robin Grocott. 


)', ar of Production : 195G. 

Studio Nettlefold Studios, Walton-on 

Laboratory: Kays Laboratories. 
Producing Company: Butcher' Film 

Productions Ltd. 
Producer: W. G. Chalmers. 
Stars: Richard Denning. Carole 

liin ,-lir Marl' ari I 'oners. 

Icenarist: Maclean Rogers. 

Camera Department : Lighting Camel : 
man. Ernie Palmer: Camera Opera 
tor. Nobby Smith; 1st Camera Assis- 
tant (Focus), Eric Williams 

Sound Department: Recordist (Mixer), 
S. Squires; Sound Camera OperatOl 
A. Lewis; Boom Operator, Robin 
Clegg 1 Dubbing Crew, : I C * Ham 
mersmith; Maintenance, F. Tomlin 

Art !>• partmt n< \r\ Director, John 


Editing Department: Supervising 

Editor. Peter Mayhew; Assistant 
Editor. Ernie Hosier. 

Production Department Production 
Manager and/or Unit Production 
Manager, Clive Midwinter; 1st Assis- 
tant Director. Don Wcrks: 2nd Assis 
tant Dire, tor. Stanley Goulder; Con- 
tinuity. Yvonne Richards: Production 
Secretary, Cynthia Maugham. 

stills Department: Still Cameraman 
Rickie Smith. 


Y, in ni Production 1957 

Melton ' 

Laboratory : Denham. 

Producing Company Anglo-Guild Pro 

Producei Ui C Snowden. 

Associati I 1 ,,, ii,, 1 1 j. O'Connolly. 

stars. Lee Patterson, Hy Hazell, Colin 
Gordon, Philip Li 

Director: Montgomery Tully. 

Si 1 narisi . J. Mai lai en Ro 

Camera Department: Lighting Camera- 
man, Philip Grindrod; Camera Opera- 
tor. Bernard Lewis: 1st Cat 
Assistant (Focus), Peter J, 
Other Camera Assistants, I. M. Millan. 

Sound Department Recordist (Mi 
Keith Barber: Sound Camei, < 
tor, Arthur Vincent; Boom Operator, 
Tom Otter: Boom Assistant, Keith 
Pamplin; Dubbing Crew. Re 

Art Department: Art Director, Wilfred 
Arnold: Assistant Art Director, 
William Holmes. 

Editing Department: Editor. E) 
Hilton; Dubbing Editor. Derek 

Production Department: Produ 
Manager, William Shore; 1st Assis- 
tant Director, Derek Whitehurst; 
2nd Assistant Director, Charles Mans- 
bridge; 3rd Assistant Director, John 
Kane Archer, 

stills Department: Still Cameraman, 
Frank Otlev. 


Year of Production 1956. 

S'lulio: Shepperton Studios, Middx. 

Laboratory: Denham Laboratories. 

Producing Company: Copa Productions 

Executive Producer: T. H. Richmond. 

Producer: John R. Sloan. 

Stars: Tyrone Power. Mai Zetterling, 
Lloyd Nolan. 

Directors: Richard Sale: 2nd Unit. 
D. Eady. 

Scenarist: Richard Sale. 

Camera Department Lighting Camera- 
man, Wilkie Cooper Cat a 1 1 
tor, Ronnie Taylor; 1st Camera Assis- 
tant 1 Focus), Michai 1 Wil oi 1 1 

Unit, M. Hyams); Other Camera 
Assistants, R. Etherington. J. Salis- 
bury, David Griffiths; Second Unit 
Camera Operator, G. W. Kelly. 

Sound Department Recordist (Mixet 
W. S. Salter; Sound Camera Operator. 
H. Tate; Boom Operators, C Wheeler 
and C. Hitchcock: Other Assistant 
("Maintenance), George Widdows: 
Dubbing Crew. Red Law, P. Cun- 

Art Department: Production Designer. 
Wilfrid Shingleton: Art Director, 
Ray Simm; Assistant Art Dire< 
Frank Willson 

Editing Department: Editor. Raymond 
Poulton ; Assembly Cutter, Valerie 
Leslie: 1st Assistant. Peter Kei 1 
Other Assistant. Karen He ward: 
Dubbing Editor. Winston 1; 
Assistant Dubbing Editor. P. Mus- 

Production Department: "rode 
Manager and /or Unit Production 
Manager. R. L. M. Davidson: 1st 
Assistant Directors, Basil Keys <-nd 
Unit. P. Crowhurst): 2nd Assistant 
Dire, tors. Albert Pearl, then E. W. 
Hill and David Bracknell ; 3rd Assis- 
tant Directors. E3. W. Hill, then .1 S 
Angus; Location Manager. Martin 
Schute; Continuity. Betty Forster: 
Production Secretary, Inez Eiston 

Stills Department: Still Cameramen. 
Eric Gray C.'nd Unit A. Evansi. 

Special Processes: Wally Veevers. 

Publicity Department: Publicity 

Director. Catherine O'Brien. 

Scenic Artists Gilbert Wood. J. 
Macky. T. Samuels. Rasil Manning 

May 1957 


'1*9 My^.m of Mcxjvfn Aft 
&I3SARI 69 


A Technician's Notebook 


A LONG with all the other pheno- 
£*■ mena of spring we welcome 
once again the British Journal 
Photographic Almanac making its 
98th annual appearance. And once 
again we marvel at the prodigious 
amount of material packed into so 
compact a volume. 

In order and lay-out the con- 
tents follow the traditional pat- 
tern; the regular Almanac reader, 
I think it is true to say, can turn 
up the section he wishes to con- 
sult, if not blindfold, at any rate 
without looking it up in the table 
of contents. 

" Physics and Metaphysics " 

First come the special articles 
headed by the one for which the 
editors are responsible. This year 
they have taken as their subject 
" Physics and Metaphysics in 
Modern Photography ", a brief but 
nevertheless fascinating survey of 
the part played by photography, 
allied with techniques such as 
electron microscopy, X-ray crystal- 
lography, etc., etc., in the revela- 
tion of facts and phenomena that 
lie beyond the reach of unaided 
human vision. 

There are four other more 
specialised articles by Keith 
Hornsby, Bernard Alfleri, W. S. 
Sharps, and George Ashton, who 
deal respectively with developer 
replenishment, wild flower photo- 
graphy, photography and tele- 
vision, and the use of filters in 
colour photography. 

Abstracts from articles pub- 
lished during the past year, mostly 
in the British Journal of Photo- 
graphy, are grouped together 
under the heading Epitome of Pro- 
gress. Reviews of new apparatus 
and materials occupy over a 
hundred pages and form a useful 
buyers' guide. 

The lists of sensitised materials 
for colour and black-and-white 
still photography and sub-standard 
cinematography, with data relat- 
ing to speed, availability, suitable 
developers, etc., have been brought 
up to date. The list of colour 
materials is particularly compre- 
hensive, covering as it does, all 
known processes. 

The section dealing with colour 

photography technique contains 
the latest information in the pro- 
cesses available in this country, 


A. E. Jeakins 

with instructions for user pro- 
cessing Agfacolor, Ferraniacolor 
and Gevacolor reversal and Euro- 
pean colour materials and colour 
papers. There is also a very use- 
ful list of colour balancing and 
colour temperature correction 

New this year is a nine-page 
section which deals with " the con- 
fused situation surrounding elec- 
tronic flash factors and developing 
times ", and includes tables for the 
principal units and sensitive 
materials available here. 

The glossary of technical terms, 
the list of books dealing with the 
history, technique and applications 
of photography, the directory of 
repairers, the formulae are all 
here, and dozens and dozens of 
other items for the information 
and guidance of the photographer, 
far too numerous to catalogue 

One must, however, mention the 
pictorial supplement with its 
thirty-two examples of work in 
various styles from photographers 
all over the world excellently re- 
produced in photogravure. 

The British Journal Photographic 
Almanac is edited by Arthur 
Dalladay and published by Henry 
Greenwood and Co. Ltd., London. 
It sells for 6/- or 8/6 according to 
whether you choose board or cloth 
binding, and it's excellent value 
for money, either way. 

Sharps' Colour Chart 

" How will that green photo- 
graph? " 

" Umm — a sort of darkish grey, 
I imagine." 

A chart recently published by 
The Fountain Press ought to make 

it possible to give a more precise 
answer to that question. 

" Sharps' Colour Chart and Grey 
Scale ", to give it its correct title, 
should prove a valuable aid to the 
art director, cinematographer, 
photographer, in fact anybody, 
whether he works in films or tele- 
vision, who is interested in know- 
ing how colours will reproduce in 

The chart consists of a ten-step 
grey scale, a set of four cards on 
which are printed a series of 32 
colour patches abstracted from the 
Wilson Colour Chart, and a colour 
conversion table. From this table 
it is possible to find out the grey 
scale equivalent of any of the 32 
colours on the cards, as it will re- 
produce, not only in the standard 
Kodak and Uford emulsions, but 
also on Image Orthicon and Photo 
Conductive TV camera tubes, by 
daylight and tungsten. 


The matching of the colours to 
the grey scale was carried out by 
practical tests with the emulsions 
and television camera tubes. Any- 
one who wishes to, can, of course, 
use the grey scale to make his own 
tests with colours other than those 
in the chart. The publishers state 
that they are prepared to arrange 
for the supply to order of colours 
not included in the standard set. 

It is worth noting the warning 
that coloured materials which con- 
tain dyes that reflect light outside 
the visible spectrum and to which 
the TV tubes and films are sensi- 
tive, may produce different results. 

"Sharps' Colour Chart and Grey 
Scale " is compiled by Wallace S. 
Sharps and, as I mentioned above, 
is published by The Fountain 
Press, London. The price is 19/6. 

Last month reporting on the 
P.F.P. gate for the Arriflex 
camera, I said that an adjustment 
might have to be made to it when 
using thicker film stocks like 
Eastmancolor. I am informed that 
this is not correct and that East- 
mancolor has been used success- 
fully with the prototype gate. 



May 1957 



A CALL for the rationalisation of the British Film Industry was made 
' * by Mr. John Davis, Managing Director of the J. Arthur Rank 
Organisation, at the summer conference of the Cinematograph Ex- 
hibitors' Association earlier this month. 

Among the questions which he reviewed were the shrinking supply 
of Hollywood films, the advantages to the Industry of a European 
Common Market, contraction in the number of cinemas operating, and 
the need for drastic overhaul of methods of distribution. He also stressed 
the need for a combined trade organisation representing all sides of 
the Industry. 

In view of the importance of these proposals to all workers in the 
industry we print below an extended summary of Mr. Davis's speech on 
which we also comment editorially on page 67. 

Mr. Davis took as his text an 
article in the Financial Times in 
which the following statement 
appeared : 

" The Cinema Industry is having 
to adapt itself to a situation in 
which it has lost its monopoly of 
mass-produced visual entertain- 
ment. Recent experience has 
shown that the right sort of film 
can still attract capacity crowds, 
but the time has gone when people 
will watch indifferent perfor- 
mances to pass the time. The ad- 
justment to the new situation 
must be painful; there may have 
to be better programmes, and the 
trend towards elimination of the 
smaller marginal cinemas may 
continue. But once the readjust- 
ment is over, there is no reason 
why cinemas should not take their 
place as a permanent and profit- 
able part of the entertainment 

Cold Economic Winds 

How many, Mr. Davis asked, are 
prepared to face the facts and re- 
adjust not only methods of opera- 
tion of the individual, but in addi- 
tion, participate in changes which 
must take place in the operation 
of the industry as a whole? 

At least until a year or so ago, 
Mr. Davis went on, the Industry 
was very prosperous. A pros- 
perous industry was vulnerable 
since it was often reluctant to face 
up to facts. " It is the cold econo- 
mic winds which ultimately force 
an industry to re-adapt itself. 
These conditions have been with us 
for some years, but many people 
have tried to avoid facing the issue 
— until now when they can avoid 
it no longer." 

Entertainments Tax relief was 
not the solution to many of the 
Industry's problems. However un- 
pleasant it might be, he held the 
view that no final solution to these 
problems would have been found if 
a much larger amount of relief 
had been granted this year. 

Move from Hollywood 

Reviewing the changing pattern 
of the Industry Mr. Davis said he 
believed a situation was develop- 
ing as a result of which the main 
source of production would move 
from Hollywood. The trend of film 
production in the United States 
over the last year or so had shown 
a material change aggravated by 
financial battles for control of 
some of the great corporations. An 
industry in difficulties did not 
easily attract new money and new 
brains, both of which were needed 
in great quantities. 

" In my view," Mr. Davis said, 
" we are going to be faced with 
an American product shortage for 
some considerable time, if not for 

Strong Home Industry 

" At home a strong production 
industry will be permanently de- 
veloped, making films of high en- 
tertainment value with an eye on 
both domestic and world markets. 
Entertainment supply will become 
more and more on a global basis, 
and if our producers grab the 
opportunity British Production will 
play an increasingly important 
part in the world." 

This would envisage a consider- 

able portion of programmes being 
made up of foreign language films 
which had been subsequently 
dubbed into English. In the past 
the huge supply of American films 
had made it possible to avoid the 
necessity of looking for the best 
of the European and South Ameri- 
can product but now the smaller 
Hollywood supply provided the 
opportunity for foreign language 
producers to extend their activities 
in this country. They must do 
much to help themselves and not 
expect British interests to do all 
their work for them. 

European Common Market 

" This is the opportunity for 
theatre owners to exploit these 
films and assist in securing for all 
films an international audience, at 
the same time increasing the sup- 
ply of films on which the exhibitor 
can draw." 

Mr. Davis said that this raised 
the issue of the European Common 
Market which he believed would 
be in the long-term interests of 
this country. From the standpoint 
of a film producer the European 
Common Market would give the 
opportunity of securing a basic 
market of a size comparable with 
that of the American domestic 
market. This would give pro- 
ducers in this country and over- 
seas the opportunity of producing 
films of broader appeal with an 
eye to the big, basic domestic 
market. In this way one of the 
producer's problems, the problem 
of the small domestic market, 
should be removed and better films 
in greater numbers should flow 
from such a development. 

Reciprocating Quota 

" This development ", Mr. Davis 
added, " will create a situation 
which may horrify you, the 
thought that there would have to 
be a quota for films, not just 
British films, but European films 
covering the countries of the Euro- 
pean Common Market. Let us be 
under no delusion, reciprocating 
quotas must be granted in the 
Common Market for British films." 

Mr. Davis then went on to dis- 
cuss the possibilities of large- 
screen television. Scientists were 
already talking about world tele- 
vision networks operating in the 
next ten years. " We must organ- 
ise ourselves ", Mr. Davis said, " so 
that we participate in these new 
developments. European and world 
networks with large screens cer- 
tainly open up new sources of 
supply of entertainment and new 

May 1957 



methods of presentation such as 
an extensive use of world actuali- 

Turning to the question of com- 
petition from television Mr. Davis 
said that, from the point of view 
of the Film Industry, the public 
felt that they received from tele- 
vision a large quantity of free en- 
tertainment. This made it un- 
attractive for the public to go and 
see average films when something 
similar to the average film could 
be obtained in the home, appar- 
ently free. Thus only important 
films of high entertainment value 
were of interest to the public. 

" Piped or Coin-in-the-Slot tele- 
vision will certainly come. I am 
convinced that it will be used in 
the foreseeable future. Will the 
industry use it? Surely the in- 
dustry must and can harness it for 
its own benefit? ". 

Competition for Leisure 

People today had more leisure 
time and the more leisure they 
had the greater was the competi- 
tion for it by all providers of 
entertainment, be it television, 
radio, the ballet, music, sport, 
motor-cars or films, and one of the 
greatest competitors for that 
leisure time was the motor-car. 

With this increased leisure the 
public would become more selec- 
tive in its tastes and audiences 
would no longer be prepared to go 
to the cinema unless they were 
offered not only good entertain- 
ment but adequate facilities and 
comfort under which to see the 

In Mr. Davis's view the facilities 
in many cinemas were not ade- 
quate today. " Theatres not in 
first-class condition must be closed 
or alternatively rebuilt to the 
latest and most modern standards 
of comfort and projection, etc." 


" But in my view ", Mr. Davis 
added, " nothing can stop a 
material contraction in the number 
of cinemas operating in the Wes- 
tern world. The present limited 
supply of pictures and the chang- 
ing competitive conditions in the 
mass entertainment market will 
bring about the closing of many 
theatres; only those with good 
earning potential will be retained." 

While a most careful rationali- 
sation in theatres was essential it 
was also necessary to overhaul the 
present methods of distribution 
which were obsolete and unneces- 
sarily complicated. The Industry 

must materially reduce the cost of 
distribution which was far too 
high, not only in this country but 
world-wide. This must involve a 
common servicing organisation 
separate from any one company 
and divorced from selling, to 
handle the physical side of distri- 

Scrambled TV Network 

Looking further ahead Mr. Davis 
believed the time would come when 
films would be distributed either 
through the medium of tape, wire 
or through a television scrambled 

No side of the industry could 
exist successfully without the suc- 
cess of all sides. It was essential 
to work out methods of increasing 
box-office returns. Producers must 
have the opportunity of earning 
maximum returns on important 
entertainment films. They, on 
their side, must use imagination to 
keep costs down and to make films 
which would satisfy the changing 
tastes of the public. 

" I have already intimated that, 
in my view, a contraction in the 
quantity of film must continue. 
The unanswered problem is the 
speed of this contraction. In addi- 
tion there is already a permanent 
reduction in the supply of second 
features and other supporting film. 
Ultimately the programme will be 
reduced to single features which 
may lead to a change in present 
public tastes for the continuous 

One Trade Organisation 

At the present time the Industry 
had over sixty trade associations 
with an annual operating cost in 
excess of £250,000. It should set 
up a combined trade organisation 
at the top of which there should 
be an executive council presided 
over by an independent chairman 
having no connection with any 
side of the Industry. Under this 
executive there should be com- 
mittees representing each section 
of the industry. Such an organisa- 
tion would facilitate the sorting 
out of the problem for the creation 
of the successful pattern of the 

" We must have rationalisation 
in our industry. The closure of 
the uneconomic unit will come, 
taking into account whether the 
unit is uneconomic because it is 
redundant or whether it is un- 
economic because it is in poor con- 




YV7E have received from the Syn- 
" dicat des Techniciens de la 
Production Cinematographique, 
the French film technicians' Union, 
a copy of resolutions passed at 
their Annual General Meeting held 
on March 10th, 1957. 

A series of demands were made 
concerning the Social Service 
scheme. These included the 
adaptation of the scheme to the 
casual nature of film technicians' 
employment, a revision of the 
points-calculation for pensions, 
and an improvement in health and 
safety precautions in studios. The 
resolution stated that health 
standards in the industry had de- 
teriorated alarmingly, partly as a 
result of the speed-up of produc- 
tion over recent years, and ended 
by demanding the resumption of 
discussions on the re-establish- 
ment of the 5-day working week. 

Separate Union 

French television technicians are 
organised in a separate union, the 
Syndicat des Techniciens du Spec- 
tacle Televise, but this, like the 
S.T.P.C., is affiliated to the 
National Entertainment-workers' 
Federation, and the two unions 
work together on matters of com- 
mon policy. The last resolution of 
the S.T.P.C. meeting gave strong 
support both to their own Direc- 
tors' Section and to S.T.S.T. in 
their defence of the moral rights 
of creative workers in the products 
of their labour and especially in 
opposing the "Producers' Charter" 
drawn up by the International 
Federation of Film Producers' 

Management Criticised 

The resolution further criticised 
the attitude of the management of 
French Radio Television to Trades 
Union agreements and protested 
against attempts by the same 
management to exclude film tech- 
nicians from television production. 
On this latter subject, it instructed 
the Executive of S.T.P.C, in col- 
laboration with S.T.S.T., to take 
all necessary action, including a 
publicity campaign, to further the 
possibilities for fruitful collabora- 
tion in the television field between 
technicians of the two unions. 




May 1957 

Win Min Than had never seen tele- 
vision until she came to England to 
co-star with Gregory Peck in 'The 
Purple Plain'. 

"We do not have 
television in Burma " 
she says, "hut then 
we are a naturally 
happy people!" 

We have invited QUENTIN LAWRENCE, of A.C.T.T.'s Television Producer-Directors' Section, to <•( ntribute 
occasional articles on various technical aspects of television production. He opens in this issue with a subject 

of never-ending- controversy. 

Film or 'Live 9 ? 

SINCE this journal is read by film 
and television technicians alike, 
perhaps it would not be inappro- 
priate to devote a few lines to a 
topic on which controversy rages 
unceasingly, and on which I sup- 
pose the last word will never be 
said; I refer to the general ques- 
tion of "live" versus "film" studio 
production technique. 

Perhaps the word " versus " is 
out of place; the two techniques 
are not of course competitive. If 
one has to make a film, one makes 
it in a film studio; if one has to 
do a live production, one does it 
live. However, the end-product is 
the same — a story told in pictures 
on a screen with accompanying 
sound — and sidelong glances, some- 
times envious, sometimes derisive, 
are often being cast from one 
camp to the other. And whichever 
one is engaged in one cannot — or 
at any rate should not- banish 
from one's mind the question of 
how the other medium would tackle 
the same problem. 

It has been my good fortune to 
divide my time pretty well equally 

in the last twelve months between 
active direction in both media, and 
immediately prior to that I re- 
ceived my grounding as a director 
in the much-discussed High-Defini- 
tion venture, a true hybrid if ever 
there was one. Any conclusions 
which I may by now have come to 
are therefore based on fairly com- 
prehensive practical experience. In 
point of fact they are few, but in- 
teresting to me because they are 
so diametrically opposed to what 
I expected at the outset. 

By the same rules 

The raison d'etre of the High- 
Definition project was the applica- 
bility of Television production 
methods to film making. I now 
find myself implacably dedicated 
to the exact complementary idea, 
which is the applicability of the 
basics of film production to live 
Television. It never ceases to 
astonish me that this approach is 
not more widely canvassed in the 
grounding of training of Television 
directors. To have once mastered 

the technique of directing a film is 
to be provided with the means of 
solving, by the same rules as one 
learned in the film studio, nearly 
every problem that presents itself 
in the planning of a Television 

Ninety per cent of the television 
director's technical problems (ex- 
cept, of course, those concerned 
with writing and acting, which 
must come first) are concerned 
with where to place the camera, 
with what lens, and; when and 
how to cut from one shot to the 
next. Now if one is capable of 
participating in these decisions on 
the studio floor and in the cutting- 
room, one can just as easily — very 
often more easily — make them 
under TV production conditions. 

Many film technicians get very 
bewildered and baffled by con- 
ditions in a TV production control 
room, which often seems to re- 
semble the bridge of a destroyer 
under fire during a naval battle. 
The important thing to remember 
about this is, that once a director 
climbs into the " gallery" his work 

May 1957 



is, or should be, finished. He is 
merely watching his picture being 
acted, photographed, edited and 
dubbed — all at once! He has only 
one screen to watch; the others 
are there for the various techni- 
cians who need them, and if he 
has done his work properly he 
should be able to watch it in 
reasonable quiet and comfort be- 
cause everyone else has been told 
— by him — what to do and when to 
do it. 

Chaos on Screen 

The director who does not pre- 
plan, who tries to knit together 
the production from the control 
gallery by watching four screens 
at once, manipulating three 
cameras " off the cuff ", and often 
even giving impromptu directions 
to the wretched actors over a 
loudspeaker, gets chaos in the con- 
trol room — and on the screen. This 
latter feature he never really 
knows about because he is too 

There is a terrible lot of non- 
sense talked about the special nature 
of Television. There is absolutely 
no fundamental difference between 
a live Television production and a 
film of the equivalent story. I 
hold the view that the only way to 
plan a live Television sequence is 
to imagine how one would shoot 
it on film and then see how closely 
one can approximate to the same 
result using multiple cameras and 
continuous shooting. And it would 
amaze many people to know how 
often one can get very near to the 
same answer. There are certain 
impossibilities in live Television — 
for instance, when cross-cutting 
on dialogue one can never get 
round as near to the mutual eye- 
line as one would wish, but at least 
if one understands the problem one 
can work out methods of coming 
pretty close to the ideal. 

Same " handwriting " 

If one has worked for any length 
of time in a film studio one in- 
evitably gets to know what sort 
of set-ups are easy to light well 
and yield good photographic re- 
sults. It is quite astonishing to 
find that if one uses this same 
" handwriting " in a Television 
studio, one finds in nine cases out 
of ten that one is getting Tele- 
vision pictures of truly cinematic 
quality. Television lighting men 
are not idiots. Though many 
people think they are and can be 
pardoned for thinking so because 
they so often have to light vir- 
tually " unlightable " set-ups, 

wished on them by a director who 
doesn't realise what can be lit and 
what cannot. 

What of the reverse of the 
coin ? What can the film techni- 
cian derive from Television tech- 
nique? There is no doubt that the 
one big advantage, the thing that 
makes Television possible (and 
also makes it tremendous fun) is 
the purely psychological factor of 
going " on the air " at a set time 
with the knowledge that several 
million people are looking in; 
which gives the whole operation, 
from the first planning conference 
or rehearsal, a sort of tempo which 
has no equivalent in film produc- 


The views expressed in this 
article may be technical dyna- 
mite among Television Pro- 
ducers. We hope they are. 
If they create an explosion of 
contending opinions Film and 
TV Technician wants to report 
it. What are YOUR views? 
Write and tell us. We are 
waiting for the " big bang " ! 

tion and cannot be synthesised by 
any means. 

There may be odd technical de- 
vices and tricks which could find 
a place in film production; for in- 
stance, do film sound editors and 
dubbing mixers know about the 
German E.M.T. gramophone turn- 
tables which A.T.V. are now using 
for cued background music and 
effects? These are capable of 
running - up virtually instan- 
taneously on a selected musical 
phrase or sound effect and can be 
very simply operated to an accur- 
acy of time equal to all but the 
most precise track-laying. Their 
use in the dubbing theatre could 
save time in the cutting room, as 
well as eliminating an inter- 
mediate transfer from disc to film. 

Future Articles 

I hope that in future articles 
other devices peculiar to Tele- 
vision but with possible film pro- 
duction applications will be 
described. It would be of great 
help in the planning of these 
articles if readers would write to 
me, c/o Head Office, about the sort 
of subjects which they feel should 
be covered in this feature. 

Quentin Lawrence 

George Elvin 

Members will be glad to know 
that George Elvin is back in the 
saddle having made a complete 
recovery. In fact he seems to be 
at the very top of his form and 
fighting fit. 

" From what I see after my first 
few hours in the office ", George 
said on the day of his return to 
work, " the film industry and its 
trade unions are much the same as 
before. But whether they are or 
not, I want to let you know that 
I am passed as completely fit and 
I am delighted to be around again. 
I am most grateful to everybody 
within A.C.T.T., from Head Office 
through the Shop Stewards to the 
rank and file for showing so effec- 
tively during the past seven 
months that it is all nonsense to 
claim that A.C.T.T. was anything 
like a ' one man show '. 

A.C.T.T. " healthier than ever " 

'A.C.T.T. seems, if anything, 
healthier than ever. I look forward 
to meeting the members again 
over the coming months." 

Following George's return Bert 
Craik, who so magnificently held 
the fort during the General Secre- 
tary's absence, is taking a well- 
deserved holiday. All members 
will wish him an enjoyable rest 
and will thank him for the sterling 
work he did in George's absence. 


The growth of television is to be 
reflected in the programme for 
this year's Edinburgh Film Fes- 
tival which is being held from 
August 18th to September 8th. 
Plans include an international con- 
ference on the production and use 
of documentary film in television. 
There will also be discussions of 
plans for the international ex- 
change of television film material. 

M. Henry Cassirer, head of the 
Television Branch of U.N.E.S.C.O., 
is drafting a programme for the 
conference which will attract film 
and TV experts from many 

A Festival conference on the use 
of television in education is being 
planned by the Scottish Educa- 
tional Film Conference Committee. 



May 1957 


A - Bomb • Third Programme • Entertainment Tax 

/^OMING events, they say, cast 
^ J their shadows before them, and 
with a jolt I realised the deep 
truth of this corny old saying, 
when I was privileged to go to a 
special showing of a most moving 
new documentary film that has 
just been re-edited over here. The 
picture comes from far-away 
Japan, but there is nothing 
quaintly oriental about it, for it 
shows in ordinary human terms, 
understandable to any nationality, 
exactly what are the effects today 
of the atomic bomb that fell on 
Hiroshima and Nagasaki nearly 
twelve years ago. 

No Bitterness 

The makers of this film do not 
dwell on the past, and, believe-it- 
or-not, they show no bitterness 
against those who dropped those 
terrible bombs. The effects of 
radiation from these bombs and 
from the Bikini H-bomb test of 
1955 are still today killing people 
in Japan, but this shadow on the 
bright face of the inhabitants is 
shown by the film to be a warning 
against the hydrogen bomb tests 
that the great nations are still con- 
tinuing. The film's title is The 
Shadow of Hiroshima. 

A.C.T.T. put down a resolution 
on the subject of H-bombs and the 
genetic effects of the tests for the 
Women's T.U.C. at Hastings, and 
when our delegate Mrs. E. J. 
Wallis told the conference that 
the Women's Advisory Committee 
had ruled it out of order, there 
were some angry clashes with the 
platform. In a way the Advisory 
Committee was right in saying 
that the conference could only deal 
with women's problems — the H- 
bomb tests concern men, women 
and, most particularly, children — 
but their " Out of Order " decree 
seems most bureaucratic. 

If The Shadow of Hiroshima had 
been shown to them first, I am 
sure they would have realised the 
importance of everyone freely dis- 
cussing the problem, for this 22- 
minute film is of enormous assis- 
tance in graphically bringing home 
the truth of the hazards to the 
world of nuclear tests. 

I wish those abusive people who 

think it clever to call intellectuals 
names would make up their minds. 
One moment intellectuals are re- 
ferred to as " the long-haired 
boys ", and then their critics go to 
the other extreme and call them 
"egg-heads"! This silly talk is 
really nothing more than envy, and 




its inverted snobbery always 
strikes me as especially vulgar 
when relatively intelligent people 
are dismissed as " Third Pro- 
gramme types ". 

Perhaps it is part of the British 
habit of running down the things 
that foreigners admire most about 
us. I have often noticed how 
friends from America have gone 
into rhapsodies over our BBC 
Third Programme, now so sadly 
curbed by Sir Ian Jacob on 
grounds of economy. ("It might 
mean small reductions in staff ", 
added Sir Ian). Despite some irri- 
tatingly pretentious material on 
occasions, the Third has pioneered 
remarkably enlightened pro- 
grammes, as well as catering for 
the ever-growing public that 
enjoys serious concerts and operas, 
and does not want them packaged 
in half-hour periods. 

Deserved Wider Audience 

Many of the experiments on the 
Third that have deserved a wider 
audience have been " promoted " 
to the Home or Light for repeats, 
which is, surely, a high tribute. 
Those who were so vociferous in 
demanding commercial TV as an 
alterative programme to BBC 
television have been strangely 
silent during the controversy over 
the Third; but, really, the same 
principle of giving the public as 
much choice of listening as pos- 
sible applies; restricting the Third 
to the awkward hours of 8 to 
11 p.m. prevents so many people 
enjoying it when they want to, for 

the question of choice is the im- 
portant one. 

For a great and progressive 
people with ambitions to go for- 
ward it is not enough that the 
Third programme should only be 
allotted three hours a day, while 
the Light and Home together get 
ten times as much. 

I have left to the last the aspect 
that affects us most directly as a 
Trade Union. If economies are 
the order of the day, not only are 
regular employees of the BBC 
threatened, but also those long- 
suffering free-lance members like 
writers, who scrape a living in the 
media of radio, television and film, 
will find it even more difficult. I'm 
all for changes at the BBC, but 
this one is retrogressive and ought 
itself to be changed. 

Predictions Correct 

The only thing that pleased me 
about the Budget was that the 
predictions I made in February 
proved correct. I wrote then that 
the Government would not be very 
generous to the cinemas and sug- 
gested that " cinema Entertain- 
ment Tax may be slightly reduced, 
but, to make up for this, there will 
be some form of tax on television." 
Last month the Chancellor of the 
Exchequer cut cinema duties by 
£6,500,000 (the industry asked for 
a £21,000.000 cut), and increased 
the combined radio and TV 
licences from £3 to £4, which 
would net an extra £8,000,000 in a 
full year. 

The total abolition of Entertain- 
ment Tax on the live theatre and 
sport only serves to emphasise the 
iniquity of the remaining Tax on 
cinema tickets. The Federation of 
Theatre Unions can feel pleased 
with their campaigning over the 
Tax on the live theatre, and their 
success should spur us on to com- 
bine with the other film Unions 
now in preparing for the next 


A.C.T.T. badges and brooches can 
be obtained from Head Office. 
Badges 2/-, brooches 2/4, post free. 

May 1957 



"Kemp's"— 1957 

Book Reviews 

TORY, 1957 (10/6 — Free to British 
production companies and Studio 

This directory includes for the 
first time a Technicians' Section 
for which A.C.T.T. and N.A.T.K.E. 
co-operated with the publishers. 
Whether you want to find a com- 
poser for a TV jingle, buy some 
cutting-room equipment or hire a 
police car, you can find names, 
addresses and 'phone numbers 
listed in the appropriate cate- 
gories, which are conveniently in- 
dexed at the end. 

In New Form 

This is the first issue in a new 
form, and I do not mean to be dis- 
couraging to the publishers in 
pointing out a few things that 
seem to be rather strange. If you 
wanted to look up the address of 
A.C.T. Films Ltd., you would look 
in vain under " Producing Com- 
panies — Feature Films ", and yet 
it appears in a number of such 
categories as the producers of TV 
commercials, cartoons and enter- 
tainment shorts. Among the trade 
and professional associations one 
cannot find the E.T.U., the Musi- 
cians' Union, the Children's Film 
Foundation, nor the Newsreel 
Association to mention a few. How 
has a German documentary pro- 
duction company with a Berlin 
address crept in among the scores 
of animated and cartoon produc- 
tion companies? 

Our Union's name is printed in 
two different ways — both of them 
wrong. Such errors will, no doubt, 
be corrected next year, but I would 
suggest to the Editor that he in- 
cludes a few blank pages, where 
omissions and changes of address 
can be filled in by the owners of 
the Directory. 

Co-operation Welcome 

Increased members' co-operation 
in future no doubt will be wel- 
comed by the publishers, whose 
address is 299-301 Gray's Inn 
Road, W.C.I. 

I have been severe in criticism — 
but only in the spirit of being 
helpful towards a most valuable 
book, whose printing is beautifully 
clear and which is attractively 
bound in a glossy stiff card cover. 


Push-Bike across India 

The Ride to Chandigarh, by Harold 
Elvin. Macmillan, 25/-. 

" When India in the partition of 
'47 lost half the Punjab to 
Pakistan, the Indian Punjab lost 
its capital, Lahore. So now they 
are building a new capital, and 
they are doing it on virgin land, 
and its nearest village is Chandi- 
garh and hence its name. I just 
want to see it." 

That was how Harold Elvin ex- 
plained to his host, an Indian 
Salvation Army Major, why he 
was starting out on a cycle ride 
of over two thousand miles across 
India to the foot of the Himalayas. 

" And this city, is it a worth 
seeing place ", the Indian asked. 

" It will be. It's only just be- 
ginning. They sent for four of 
the most famous architects in the 
world to design it; the Frenchmen 
Le Corbusier and Jeanneret, and 
the English Maxwell Fry and his 
wife Jane Drew ". 

Threefold Equipment 

" The Ride to Chandigarh " to 
see " the vast areas of nothing 
that will soon be something," is 
certainly a most " well worth 
reading book ". Harold Elvin had 
the advantage of a three-fold 
equipment for his task. In the 
first place he is a long-distance 
pedal cyclist on a truly epic scale. 
His pilgrimages on two wheels had 
already taken him to Constan- 
tinople and back and to Leningrad 
and back. He had cycled in the 
cold of Lapland as well as in ex- 
tremes of heat. 

In the second place he travels 
with an appreciative eye and an 
appreciative mind. His ride across 
India was to see the beginnings of 
a great architectural experiment, 
and he himself has had an archi- 
tect's training and worked in 
architects' offices. On top of that 
five years working in Elstree Film 
Studios, in the Art Department 
and as Floor Manager, have given 
him an artist's appreciation of 
people as well as places. 


Anyone who has ever worked on 
a film with an eastern setting will 
appreciate this description of 
Poona: " Sometimes in Hollywood 
they make a street scene of the 
East and they go round scraping 
up everything from every studio 

lot, from buggy-carts to buffaloes, 
from lechers to lepers, from rick- 
shaws even to trains, and sling 
them all in as if tightly stoppered 
up into twenty short yards so that 
the hero can't get down the street 

Peasant Face 

[Still by Frank Horvat 

without being lost to the camera 
ten times: and all this to give an 
impression of the East. But here 
it all is! But ten times more 
packed and extending for miles, 
not for yards." 

And then a note of burning in- 
dignation creeps into the descrip- 
tion, for in Poona Elvin found not 
only seething life and colour but 
also " stench and poverty to set 
the whole world to shame that 
while this exists they dare to talk 
of money for armaments." 

This is a book which will be 
enjoyed by anyone who wants to 
know about the places and the 
people of India that lie off the 
beaten track as well as such 
famous monuments as the Taj 



(published by the United 
Nations Educational, Scientific 
and Cultural Organisation, 
Paris, 1957, in English). 

For some of our members, who 
go on foreign locations, the thrill 
(Continued on page 76) 



May 1957 

Book Reviews 


of travelling and working abroad 
may have lost its excitement and 
novelty. When Greek workers 
helped build the temple of Baalbek 
and French masons, working for 
the master-builder William de 
Sens, built Canterbury Cathedral, 
they may not have realised how 
their labours would be admired 
for centuries, though they must 
have been filled with a wonderful 
spirit of adventure. Maybe these 
" co-productions " of bygone days 
will be less fleeting than the works 
of the modern travelling film tech- 

Exchange Schemes 

This booklet, which the T.U.C. 
sends us with its commendation, is 
intended to give information about 
schemes for the exchange of young 
trainees between the nations of the 
world; in some cases the worker 
wants to spend a period abroad to 
improve his technical skills, and in 
others he may want to get to know 
the people of another country by 
working and living among them. 
Workers Abroad shows that this is 
also of advantage to the respective 
employers of the travelling 
journeymen of today. 

Just as one is beginning to 
dream of exciting and educational 
adventures, one is brought back to 
reality by the statement: 

" In trades where considerable 
unemployment has been known, 
and where the union has built up 
some form of trade security for 
its members , hesitancy to accept 
a worker from abroad is per- 
fectly understandable ." 

That, unfortunately, is just 
where, despite the good efforts of 
UNESCO, the scheme cannot 
really apply to us to any great 
extent, and this is an additional 
crime one must lay at the door 
of those responsible for the unem- 
ployment and casual work in the 
entertainment industry, because, 
while unemployment lasts, there is 
bound to be suspicion that foreign 
workers might take our jobs. 

Fortunately, there have been a 
few such international exchanges 
of film technicians (though not on 
a reciprocal basis), and in addition 
to the advantages of trainee ex- 
changes, which this booklet gives, 
I would stress another: for 
workers to get to know their 
fellow Trade Unionists in other 
countries will greatly help to build 
lasting world peace. 




The British premiere of Otto 
Preminger's production of Bernard 
Shaw's St. Joan is on Thursday, 
June 20th, at the Leicester Square 

Starring in the film are Richard 
Widmark, Richard Todd, Anton 
Walbrook and Jean Seberg. 

As we announced in our March 
issue, Mr. Preminger has gener- 
ously agreed that the proceeds of 
the premiere shall go to the 
British Film Studio Workers' 
Benevolent Funds. 

Tickets, price £5 5s. 0d., 
£3 3s. 0d., £2 2s. 0d., £1 Is. Od. and 
10s. 6d., may be obtained from: 
Mrs. Madge Clarke, 59 Stanhope 
Gardens, Kensington, London, 
S.W.7 ('phone FREmantle 2285/6). 

A. C. T. T. 

In November 1955 Mr. Frederick 
Slater, one of our members em- 
ployed at Technicolor, was 
knocked down by a motor car 
on a " zebra " crossing while re- 
turning from work and seriously 

A.C.T.T., through their solici- 
tors, took up Mr. Slater's case 
with the motorist's insurance com- 
pany and have been able to obtain 
£525 compensation for Mr. Slater, 
plus all costs. 

Mr. Slater writes: "May I sin- 
cerely thank you for the great help 
accorded me in trying to get a 
satisfactory settlement. ... It has 
been a great relief and I am deeply 
obliged for all the assistance I 
have received." 


1957 Arriflex Model Ha 

complete with Blimp 

and Power-Pack 

25 mm. 
32 mm. 
40 mm. 
50 mm. 
75 mm. 




18mm. Cooke Retrofocus also available 



FINchley I 595 


" Rock Round the Clock, which 
cost only $300,000, is reckoned to 
recover eight times over its cost." 
— Variety. 

Change of Theme 

President of Takimura Produc- 
tions reports that in an " effort to 
increase the popularity of Japanese 
films in the States, they intend to 
use contemporary themes, as 
opposed to the ancient themes that 
have been great successes." — Far 
East Film News. 

Who cares as long as it sells ? 

" It may be a soul-searing drama 
of violent passion or a highly- 
polished bedroom comedy, with 
lots of lingerie; but whatever it is 
the customers will lap it up. For 
the British cinemagoer — bless him 
— is incurably convinced that the 
lives of Europeans are infinitely 
more inhibited than his own, so 
that he accepts quite easily the 
most extraordinary behaviour on 
the part of characters in films. 
And who are we to say him nay? " 
— Michel Williams, " Continentals, 
Answer to Product Squeeze ". 

Asian Co-produotions Increasing 

According to Dr. Hoffmeister, 
a member of the Czechoslovakian 
cultural delegation to India, India 
and Czechoslovakia will produce 
jointly a puppet film. He said 
that India was an ideal place for 
producing puppet films by virtue 
of its rich folklore. 

Also to be co-produced is an 
Indian-Chinese film Under the 
Blue Sky; this is to be shot in 
China and Burma and directed by 
a team of Bengali directors. 

Lewis McLeod. 


Miss Norma Bremson, daughter 
of Mr. and Mrs. Syd Bremson, was 
recently married to Stan Hawkes, 
a fellow stalwart of the Editorial 
Section. We regret that in our 
last month's issue we gave the 
name of Miss Bremson's husband 
wrongly as Stan Hughes. Our 
apologies and wishes for every 
happiness to Mr. and Mrs. Hawkes. 

May 1957 




Bill Sharp Retires 

Bill Sharp, known to many of 
the older school of laboratory 
technicians, has been retired by 
A.B. Pathe, having worked for the 
company and its predecessors con- 
tinuously since 1912. 

Frank Fuller writes: 

Of late his health has not been 
too good, bronchial troubles cur- 
tailing his activities considerably 
and forcing him to have frequent 
spells away from work. 

Looking back to 1912, Bill re- 
calls that he first started as hypo 
boy to Jock Gemmell who was 
then the developer. Jock needs no 
introduction from me having been 
established as a newsreel camera- 
man as long as I have known him. 

Both Bill and Jock agree they 
were paid in gold in those days. 
Bill, taking home a golden 
sovereign at the end of the week — 
15/- wages plus overtime — still 
earned more than his father, who 
had a large family to support. 

World War I saw Bill in the 
Army, serving in France with the 
23rd London Regiment. Demobbed 
in 1919, he returned to Pathe in 
time to work on the newsreel 
covering the victory parade of 
that year. 

Management Sympathetic 

For many years he was senior 
developer at Pathe and for the 
last six years was put in charge of 
the positive examination depart- 
ment, a move made in the hope of 
benefiting his health. One must 
congratulate the management for 
the generous and sympathetic con- 
sideration given to a loyal and effi- 
cient worker in making it finan- 
cially possible for Bill to enjoy a 
somewhat premature retirement. 

A collection made among the 
people at Elstree and Wardour 
Street Labs, Pathe News and Pic- 
torial resulted in a presentation of 
a barometer and a sum in cash 
being made by Manager C. J. 
Phillips at a going-away party in 
his office on Friday, April 12th. 
Those present included Mr. W. A. 
Fielder (General Manager), 

Messrs. A. Turner, J. Gemmell, 
A. Simon, E. Potter, R. H. Bom- 
back, W. Robinson, J. May, 
A. Lawrence, J. Rees and F. Cull. 

Those members who can cast 
their minds back to 1935 will re- 

Bill Sharp receives A.C.T.T. Darts League Shield 
as Pathe Captain 

member Bill as one of the active 
members in organising the forma- 
tion of the Laboratory Branch of 
the Union. He was an untiring 
worker on behalf of A.C.T.T. and 
was in fact the first Shop Steward 
of the Wardour Street Laboratory, 
a job he held with distinction for 
some three or four years. 

He was a good mixer, liked 
social activities and " skippered " 
the successful Pathe darts team of 
a few years ago. 

Through the years he has been 
a source of strength to A.C.T.T. 
and has always been ready to give 
advice and the benefit of his ex- 
perience to the local Committees 
if required. 

Alf Cooper writes: 

Following the close-down of 
Radiant Colour Labs, it is with 
pleasure that I can report that all 
redundant personnel are now re- 
employed within the industry. 

Many of our members are still 
worried about the dermatitis prob- 
lem in the Laboratories and a sub- 
committee was formed at the last 
Laboratories Shop Stewards Com- 
mittee to produce a full report on 
this item for the next meeting to 
be held in May. 

FOR SALE.— Vinten Light-Gyro 
Tripod with tall and short legs, 
top-hat, fitted case. £90. Box 204, 
F.T.V., 5-6 Red Lion Square Lon- 
don, W.C.I. 

FOR SALE. — Newman Model G 
Camera in excellent condition. All 
Cooke Lenses, SINGLE FRAME 
EXPOSURE device, etc., etc. £400. 
Box 205, F.T.V., 5-6 Red Lion 
Square, London, W.C.I. 

WANTE D.— Friction Tripod 

(Medium Duty size) suitable for 
wild Newall and Vinten Model H 
Cameras. Box 206, F.T.V., 5-6 Red 
Lion Square, London, W.C.I. 



May 1957 

General Council in Session 


cause of the unsatisfactory out- 
come of negotiations with M.-G.-M. 
over the employment of two 
foreign technicians on The Dreyfus 
Case, and because the company 
could give no undertaking to em- 
ploy a British Producer or Director 
on future productions, the Execu- 
tive Committee had agreed to re- 
commend to the General Council 
that action be taken to enforce 
our policy that both the Producer 
and Director shall be British on all 
quota films made by companies not 
covered by the B.F.P.A. Quota of 
Foreign Technicians, until these 
companies jointly met us to nego- 
tiate some form of quota agree- 
ment. To enforce this policy the 
Council unanimously agreed to ad- 
vise the Ministry of Labour and 
the main American companies 
immediately that A.C.T.T. was 
issuing instructions to members in 
Studios and Laboratories not to 
work on a Quota film for any such 
company which goes on the floor 
after August 1st, 1957, unless all 
the technicians are British and 
members of A.C.T.T. or the pro- 
duction has received clearance 
from A.C.T.T. 

A number of members contri- 
buted helpful suggestions to 
further the campaign, and it was 
agreed that a leaflet and a Press 
Statement be prepared on the 
matter of foreign technicians, lead- 
ing up to a further deputation to 
the Ministry of Labour. 

H-BOMB TESTS. The United 
Nations Association, to which the 
A.C.T.T. is affiliated, had written, 
asking for support in calling on 
the Government to : 

1. Suspend the present series of 
tests, and 

2. Put forward to the Disarma- 
ment Sub-Committee pro- 
posals for the cessation of all 

The Council agreed to send out a 
circular to all Shop Stewards, 
urging Shops and individual mem- 
bers to make their opposition to 
the H-bomb tests felt. 

LOANS. The Acting General 
Secretary reported that, owing to 
the continual rise in costs over the 
outstanding estimates of capital 
expenditure in connection with the 
T.U.C. Memorial Building, a sum 
of roughly £72,000 remains to be 
raised. The T.U.C. have decided, 
therefore, to invite all Unions to 
make loans in units of £1,000 re- 
payable with interest at three per 
cent per annum within a period of 
five years as approved by Con- 
gress. At present the T.U.C. have 
in mind, among other things, that 
any union in financial difficulty 
should be able, if they so desire, 
to obtain at least part repayment 
of the loan at any time during the 
five years. The F. & G.P. recom- 
mended that we be prepared to 
make a loan of £1,000. The Execu- 
tive agreed to this recommenda- 


FILM EDITOR (known locally as Film Production Officer) required by 
the Federal Government of Nigeria for the Film Production Unit of the 
Information Service on contract for 18/24 months in the first instance. 
Salary according to experience in scale (including inducement addition) 
£1,170 rising to £1,488 a year. Gratuity at rate £150 a year. Outfit 
Allowance £60. Liberal leave on full salary. Free passages for officer 
and wife. Grant up to £150 annually for maintenance of children in U.K. 
Free passages for children up to cost of two adult return fares. (It is 
thus often possible for an officer whose children are being educated in 
the U.K. to arrange for them to spend two or more school vacations in 
West Africa with free passages). Candidates must be experienced in 
editing to final stage both 16mm. and 35mm. documentary and educa- 
tional films and must have the ability to lay dialogue, commentary, music, 
and effects tracks. A knowledge of film processing would be an advan- 
tage. Write to the Crown Agents, 4 Millbank, London, S.W.I. State 
age, name in block letters, full qualifications and experience, and quote 


complaint was received from the 
E.T.U. against a member of 
A.C.T.T., who it was alleged in- 
tended using his own lighting 
equipment on a job without the 
services of a production electrician. 
It was necessary to call a joint 
meeting with the E.T.U. and the 
member concerned present. The 
meeting was a friendly one and the 
matter was sorted out satisfac- 
torily. The E.T.U. representative, 
however, said that where members 
of A.C.T.T. themselves own light- 
ing equipment and engage elec- 
tricians they should do so through 
the E.T.U. office and not from any 
other source. 

GREECE asked for the support 
of A.C.T.T. in demanding the re- 
lease of Trade Union leaders im- 
prisoned in Greece. The Executive 
agreed that a cable be sent as sug- 
gested by the League. 

B.B.C./E.T.U. A dispute had 
arisen between the B.B.C. and the 
E.T.U on the operation of the Con- 
sole at Riverside Studios, and the 
BB.C. had demanded that in- 
dividual Trade Unionists should 
contract out of a freely negotiated 
industrial agreement and abrogate 
their rights and duties as members 
of the Union. A.C.T.T., Equity 
and the Musicians' Union had been 
invited to meet the E.T.U. to dis- 
cuss this and they had jointly 
asked the B.B.C. to withdraw the 
ultimatum and to reach a speedy 
settlement with the E.T.U. to pre- 
vent an extension of the dispute 
which might affect members of 
other Unions. The E.T.U. had now 
asked A.C.T.T. to issue a state- 
ment that the operation of the 
Console is the job of an E.T.U. 

It was decided to issue a state- 
ment that A.C.T.T. had never laid 
claim with the B.B.C. to the 
mechanical operation of electrical 
lighting equipment, including the 
lighting console, and a letter of 
explanation should be sent to our 
members in the B.B.C. who were 
Lighting Engineers. 

A. B.C. TELEVISION. Paddy Leech 
spent a day in the Manchester 
Studios of this company, and it is 
hoped to develop our membership 
here. The Company is using an 
exceptionally large number of 
trainees, who are responsible for 
putting out programmes. The 

May 1957 



Organiser took up in London the 
question of the hours worked by 
Production Assistants. At a 
second meeting, the company 
accepted that excessive hours had 
been worked and gave an assur- 
ance that an instruction had been 
given that all Production Assis- 
tants must work a five-day, 
44-hour week. Negotiations are 
still in progress to raise the 
salaries of several lower-paid Pro- 
duction Assistants. 

Leech attended a Committee meet- 
ing at this Manchester shop, where 
we have an excellent organisation. 
Recent negotiations at shop level, 
without prejudice to the National 
Agreement, have resulted in in- 
creases of from £50 to as much as 
£250 a year for numerous grades. 
Our Steward, Gavin Waddell, was 
successful in stopping a process by 
which A. B.C. Television, under- 
crewed, made up its complement 
of staff by using Granada per- 
sonnel (A. B.C. Television are week- 
end, Granada weekday contrac- 
tors). This has been placed on a 
proper consultative level, with 
" emergency " as the criterion of 
such hiring. 

A.R.T.V. Brother Shine, our 
A.R.T.V. Shop Steward, with the 
Organiser present, has had a series 
of meetings with the Management 
in recent months. These have led 
to increased staff being taken on 
from those declared redundant as 

Camera Hire 

(1) NEWMAN SINCLAIR— Mirror Shutter. 
All Cooke Lenses including Series 2., 
and Electric Motor Drive. (Available fully 
adapted for CINEMASCOPE if required.) 

(2) NEWMAN SINCLAIR— Mirror Shutter. 
Cooke Lenses and 24mm. Angineux Retro- 

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Kingston Tubular and Vinten Light Gyro 


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FINchley 1595 

an interim measure with a further 
review to take place shortly. Im- 
portant modifications have been 
made in a Management qualifica- 
tion pay scheme for certain grades. 
Increases in pay for telecine opera- 
tors, with ex-gratia payments in 
lieu of back pay have been won. 

A.T.V. We are making organisa- 
tional progress here despite some 
apparent hostility from heads of 
departments and membership is 
slowly being built up. A very 
successful meeting was held at the 
Foley Street Studio and a con- 
siderable increase in membership 
can reasonably be expected. The 
Organiser is taking up with the 
Management a clause in some 
contracts restricting membership 
to the Association of Broadcasting 

of the TV Draft Agreement have 
now been sent to the Programme 
Contractors with a letter from the 
Acting General Secretary seeking 
an early meeting. As only an 
acknowledgment had been received 
from the Contractors the General 
Council unanimously agreed to 
press for a meeting. 

PINEWOOD. Notification had been 
received from this Company that 
fifteen of our members would not 
be with the firm after May 3rd. 
Thirteen were at Pinewood, and 
two at Hill Street. Fred Tonge 
visited the Studios to meet the 
members who were available and 
phoned Hill Street. 

The Studio Manager stated that 
he hoped the majority would be 
found jobs in some other part of 
the Rank Organisation but could 
give no definite promise on this. 
Members would be paid to May 3rd 
but were free to depart earlier. 
Holiday credits would be paid 
after May 3rd. Fred Tonge re- 
ported to the Council that all ex- 
cept five members had now found 
other work. 


The Laboratories Committee had 
pressed for up-to-date printed 
copies of the Agreement to be 
made available, and it was agreed 
that Bert Craik, the Acting 
General Secretary, should get in 
touch with the Film Laboratory 
Association and get the Agree- 
ment printed as a matter of 



Provides Complete Studio Projection Service 
at Any Time to Suit Your Requirements 








Tel: GERrard 5223 

Editing Rooms GERrard 9309 




The Bespoke Overcoat " 

a REMUS production 

Winner of the 1956 Oscar for the best short in the world 

,4- \ , -K 

May 1957 


a dream of a film . . . brought to life on 




Awarded First Prize as 
the host short story film at the 

1955 Venice Festival 

and First Prize as the best short in the 

British Film Academy Awards 1955 

35mm cine negative films 

Romulus presents THE BESPOKE OVERCOAT, a Remus 
production starring DAVID KOSSOFF and ALFIE BASS. 
Producer Director : JACK CLAYTON. Screenplay : WOLF 
MANKOWITZ. Photography: W. Suschitzy. Distribution con- 
trolled by Independent Film Distributors Ltd., in association with 
British Lion Films Ltd. 


Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
Square, London, and Printed by Watford Printers Limited, Watford, Herts. 



Association of Cinematograph, Television and allied Technicians 
Vol. 23 No ]50 PRICE 6d. 

FILM and TV 





"They loved life" {see page 90) 



June July 1957 


sekvi m iTii 

'You see . . . 

their Ko4liivhrom<> prim hug 

mulivs all ihv ilUFi>n>m*i>" 


Telephone: HUNter 0408-9 

June ''July 1957 





A FTER eleven years of abortive 
J -*- negotiations A.C.T.T. officially 
informed American film companies 
on May 9th that unless in the 
meantime an agreement is reached 
over the number of foreign pro- 
ducers and directors employed on 
quota films made by American- 
controlled companies in Britain its 
members in film studios and 
laboratories will be instructed not 
to work on any film made for a 
production company which is not 
a member of the B.F.P.A. after 
July 1st, 1957, unless all techni- 
cians employed on the film are 
British and members of A.C.T.T. 
or the production has received 
clearance from the Union. 

This action, taken by the General 
Council with the full approval of 
the Feature Producer/Directors' 
Section and endorsed by a very 
large majority at a crowded meet- 
ing of members of the Features 
Branch on May 14th, marks a 
decisive step forward in our 
struggle to achieve an equitable 
solution of the problem of foreign 
technicians working in this 

The absence of any agreement 
on this subject with American 
companies has been a thorn in the 
flesh of A.C.T.T., and particularly 
of our own producers and directors, 
for a very long time. 

Recently a London evening paper 
had this to say of a certain new 

Officially listed as a British 

quota film, but employing an 

American director and three 

Hollywood stars, (it) ... is 

about as English as the 

Yankee Stadium. 

Similar criticisms could have 

fairly been applied to very many 

films made here in recent years. 

That particular film was made 
by a company with whom A.C.T.T. 
has no particular quarrel. The 
company has always employed 
A.C.T.T. members and has meti- 
culously observed trade union 
agreements. For our part, while 
we welcome the employment which 

work on such films brings to our 
members, we believe that it is 
utterly wrong that films made 
under such conditions should be 
entitled to the classification of 
' British ', especially when one 
realises the limited amount of 
screen time available to British 
films under a Quota Act which in 
effect reserve:, over 70 per cent of 
screen time for American pro- 
ducts, and also that such films 
receive " Eady money ". 

Let nobody suppose that the ban 
which is to operate from July 1st 
is a piece of arbitrary action in- 
spired by insular prejudices. The 
General Council in reaching its 
decision had no such thoughts in 
its mind. The decision which has 
been taken, and which we are con- 
fident that all our members will 
loyally observe, has just one aim, 
to give our Union the power to 
force the American companies to 
negotiate a fair settlement. 

We have always welcomed the 
co-operation of outstanding film 
makers on British productions pro- 
vided that it was on a regulated 
basis, and on such a basis we shall 
most certainly continue to do so. 
What we find intolerable, and what 
we are determined no longer to 
tolerate, is the complete refusal of 
American companies, either collec- 
tively or individually, to enter into 
any agreement to regulate the 
number of their producers and 
directors employed here. 

With the B.F.P.A. we have an 
agreement under which B.F.P.A. 
members may employ each year 
foreign producers or directors 
equivalent in number to not more 
than ten per cent of the total 
number of first feature films made 
by B.F.P.A. members as a whole. 
From our point of view, and we 
believe from the point of view of 
the B.F.P.A., that agreement has 
been a complete success. The 
agreement has been satisfactory, 
too, from the point of view of the 
Ministry of Labour. There is no 
trouble here. 

The trouble comes from com- 
panies outside the ranks of the 

B.F.P.A., and notably from the 
American Companies. Time and 
again approaches have been made, 
either collectively to the Motion 
Picture Producers' Association 
which represents all American 
companies, or to companies in- 
dividually, in the hope of getting 
some form of quota arrangement 
on the lines of the B.F.P.A. agree- 

A.C.T.T. has gone as far as it 
could go to make agreement pos- 
sible but in every case it has met 
with a negative response. Even 
an amendment of policy which 
would enable us in most cases to 
accept a position whereby either 
the director or producer could be 
foreign provided the other key 
post was held by a British tech- 
nician has not induced the Ameri- 
can companies to negotiate. 

It may well be that because we 
have exercised patience over eleven 
long years the strength of our 
desire to get this problem settled, 
both for the safeguarding of our 
own producers and directors and 
of British film production, has been 
under-rated on the other side of 
the Atlantic. But American com- 
panies, like ourselves, are realists, 
and we believe that they will now 
interpret rightly our determination 
to see the present unsatisfactory 
position ended. Indeed, as we go 
to press a conference was held 
under the chairmanship of the 
Ministry of Labour at which suffi- 
cient progress was made to enable 
us to suspend the ban pending the 
conclusion of negotiations. 



Editorial Office: 
2 Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Sq., W.C.I 

Telephone: HOLborn 4972 



June/July 1957 

A POINT of some interest to our 
-^ TV members arises from the 
recent TV link with Prague for the 
European Amateur Boxing Cham- 
pionships. It appears that several 
of the Czech camera operators 
were women — a fact that aston- 
ished the British commentator. 

I can't say that I have ever seen 
a camera (wo) man anywhere in TV 
(any offers?). Nor telecine opera- 
tors or control for that matter. 
The only inroad into the males' 
customary province I know of is 
in Associated Rediffusion, where 
there is, I think, a woman sound 
balancer. In films the lines of de- 
marcation seem to be traditionally 
even more rigid. Women 

"mixers"? It seems unthinkable. 
About the only department where 
women and men compete on equal 
terms is in the editorial and pro- 
duction section. But A.C.T.T. is not, 
of course, opposed to full sex 
equality, and we remember one or 
two very competent women mem- 
bers of the Sound department dur- 
ing the war, as we also remember 
the all-women documentary unit 
which functioned for a short while. 

Warm enough? 

Head Office has had a letter 
from H.M.S. Warrior, somewhere, 
I presume, in the Pacific. It is 
from Harvey Harrison, who has 
been directing the official film of 
the H-Bomb tests in the Christmas 

He says that the heat was ter- 
rific — averaging 96 in the shade, 
and humidity of 98 — which made 
it " uncomfortable " at times. For 
my money, that close to the 
H-Bomb tests would make it un- 
comfortable all the time. Harvey 
Harrison wishes to be remembered 
to his friends in the Street — and 
hopes to see them all in July. 

Tribute . . . 

The tale that it is the dis- 
gruntled and inefficient who make 
enthusiastic trade unionists dies 
hard. It's all the more pleasant to 
see a tribute, in a sense, to the 
Union in the Daily Film Renter of 
May 24th. The quote : " Three 

more shows, Under Fire, directed 
by Herbert Wise; Youth Wants to 
Know, by Kurt Lewenhak; and 
What the Papers Say, by James 
Ormerod, have all tended to stimu- 
late the minds of viewers as well 
as providing good entertainment ". 
The author is writing of Granada 
TV. Herbert Wise is the Granada 
representative on the TV Nego- 
tiating Committee, Kurt Lewenhak 
is the deputy steward, and James 
Ormerod a leading member of the 
Granada Committee ! 

" Temptation Pink " ? 

In an industry noted for its rapid 
changes, the latest idea for in- 
creased efficiency comes from ABC 
Television. This is to have the 
technicians in coloured jerseys. 
Sound and camera wear red, elec- 
tricians grey, and " props " black. 
There has been no suggestion so 
far for jerseys, or their colours, 
for directors, for instance, but if 
there is to be a different colour 
jersey for every grade in television 
the ABC TV management will 
have to turn to the lipstick manu- 
facturers for tints! 


N.F.F.C s Annual 

Those film industry chiefs who 
have been throwing their arms up 
in surprise at the National Film 
Finance Corporation making a 
small loan for a TV picture are 
only displaying their own ignor- 
ance of the purposes of the 
N.F.F.C. The Corporation's con- 
stitution allows it to finance TV 
films, and, as its Managing Direc- 
tor David Kingsley told our annual 
general meeting over two years 
ago, it considers that the future of 

the production side of the industry 
depends on the full exploitation of 
theatrical and TV film distribution. 

All the fuss stems from a short 
25-word paragraph in the Annual 
Report and Statement of Accounts 
of the N.F.F.C. for the year to 
March 31st, 1957 IH.M. Stationery 
Office, 1/3), and has tended to dis- 
tract attention from what has be- 
come one of the most important 
documents of each year. 

Here this year are reflected the 
fortunes of our members in colour 
laboratories, as seen by the fact 
that less is on average spent on 
laboratory charges on each 
N.F.F.C. -assisted production, be- 
cause more black-and-white sub- 
jects were made last year; here, 
also, is evidence of further speed- 
up in the studios — each feature film 
taking an average of thirty-nine 
days in front of the cameras, in- 
stead of forty-one days the year 
before, and forty-six days the year 
before that; here, too, are signs of 
Government policy, as seen in the 
recent reduction of Entertainment 
Tax and increase in the Bank Rate. 

Not Enthusiastic 

The Report is not really en- 
thusiastic about either — the in- 
terest paid by the Corporation on 
loans from the Board of Trade and 
the banks has had to be increased 
with the Bank Rate, and the stabil- 
ising effect of the reduction of E.T. 
is not regarded as likely to offset 
the reduction in net box-office 
takings due to any further falls in 

Production costs on the average 
film have increased in the past 
year, and the N.F.F.C. has in- 
creased its profits to a record 
figure of £84,727. Maybe that is 
why, although it notes that it sub- 
mitted proposals to the Board of 
Trade on what is needed to safe- 
guard British film production, 
there are no signs in the Report of 
any suggestions for any funda- 
mental change in the set-up of the 

This is in marked contrast to 
the long-term and short-term pro- 
posals made at the same time by 
the six film Unions. This Shaw- 
cross-like mentality on the part of 
the N.F.F.C. may please the 
Government, but it will not begin 
to solve the problems of closed 
studios. unemployment, casual 
work and American domination in 
the way that the Unions' joint 
document can. 

Christopher Brunei 

June /July 1957 




FRED TONGE, our new Organiser, gives his impressions 
after his first four months with A.C.T.T. 

" ICH DIEN ". Were the A.C.T.T. 
an individual and not a corporate 
body, " I serve " might well be its 

I have been asked what im- 
pressed me most on coming into 
the organisation, after many years 
with another union (the Transport 
Salaried Staffs Association) and 
long experience through Trades 
Councils with various unions. 

To me, the most striking thing 
is the service given to members, 
and the degree of consultation be- 
tween management and workers. 

There are, of course, obvious 
differences between the railway in- 
dustry — purely utilitarian, in 
many respects sadly behind the 
times and handicapped by lack of 
finance — and the film industry 
which is creative, artistic, and by 
comparison, modern. 

Attitude of Managements 

I find of particular interest the 
attitude of the managements in 
the film industry to the Union. The 
line of demarcation between 
managerial function and union 
activity is not so sharply drawn 
as it is in many other fields. This 
is due I think to the comprehen- 
sive agreements which have been 
drawn up, together with the fact 
that many of those in authority 
are members of A.C.T.T. Joint 
consultation is more of a reality 
than in any other industry with 
which I have come into contact. 

In so many industries, the union, 
no matter how well organised, is 
always the suppliant, and is de- 
barred from discussing many sub- 
jects of vital interest to its mem- 
bers, on the grounds that this or 
that is a managerial function and 
not the concern of the Union. It 
will be appreciated that this atti- 
tude is bound to lead to frustration 
and is not conducive to getting the 
best from the people on the job. 

In the Railway Industry one has 
to contend with an attitude among 
the management which has its 
origins in the past, when workers 
were unorganised and consulta- 
tion was unheard of. Too often, 
even today, managements seek to 

impose changes without prior dis- 
cussion, and local bosses try to 
circumvent the provisions of 
national agreements. Too many of 
the ' higher-ups ' do not believe in 

Fred Tonge 

nationalisation of the railways and 
have not attempted to make it 
work efficiently. 

This attitude makes negotiation 
a very hard task, and calls for 
constant vigilance on the part of 
the union members, through their 
local departmental committees and 
Trade Union Branches. 

Impressive Speed 

The speed with which minor 
differences in the film industry are 
ironed out has greatly impressed 
me. My previous experience has 
been that far too often matters 
that should have been settled in 
a few moments have been delayed 
for weeks and even months simply 
because no one appeared to have 
the authority to reach a settle- 

The attention given to applica- 
tions for membership of the Union 
is something quite new in my ex- 
perience. The old army joke " If 
you're warm your in ", can far too 
often be applied to membership of 

a union. If you are literate 
enough to sign your name, or fail- 
ing this, make a cross, you become 
a member. 

This is understandable in an in- 
dustry where there are large sec- 
tions of unorganised workers, and 
where every member counts, but 
I find it refreshing to come into 
an industry where four sponsors 
and the blessing of the shop 
steward must accompany every 
application for membership. That 
the sponsors and the shop steward 
are required to give reasons in 
writing why they consider the 
applicant is fit to be a member 
of the industry and of the Union, 
makes it clear to the applicant 
that he is, by joining the A.C.T.T., 
expected to make his contribution 
both to the Union and to the in- 

Room for Improvement 

I do not imagine, of course, that 
every member of A.C.T.T. is a 
100 per cent trade unionist, or that 
all members play an active part in 
the Union — I am sure there is 
room for improvement in atten- 
dance at branch or sectional meet- 
ings, as in all other unions. 

Neither am I under the illusion 
that all employers are angels, 
some do attempt to pull a ' fast 
one ', sometimes they get away 
with it. The reasonably satisfac- 
tory situation is the result of the 
strength of the Union and the 
loyalty of its members. 

The relation between the various 
unions in the film industry is an 
amicable one, and is certainly far 
happier than the relations between 
the railway unions. Unfortunately 
the joint action built up during 
the war years had broken down 
and public disagreement and re- 
criminations are not uncommon, 
with the resultant weakening of 
the Union's bargaining powers. 

Within the A.C.T.T. itself, there 
is greater cohesion between 
various grades; the whole crew, 
whether camera, sound, produc- 
tion, or what have you, is con- 
cerned with the ultimate result of 
their work. There is pride in the 

(Continued on page 86) 



June July 1957 

As Others See Us 

( Continued) 

" end product ". On the railway, 
too often the " end product " is 
never seen by the rank and file 

As I intimated earlier, the in- 
dividual attention given to mem- 
bers of the Union is something 
new in my experience. Every 
member seems to be known per- 
sonally at Soho Square, committees 
give more detailed consideration 
to individual problems than I have 
experienced before. This is, of 
course, possible because of the 
compact area within which the 
Union operates, and the relative 
size of the film industry to rail- 

I have found my first four 
months exciting and invigorating. 
I would like to thank the members 
of A.C.T.T., be they members of 
the General Council, the Executive 
Committee, shop stewards or rank 
and file with whom I have come 
into contact, for the friendship and 
toleration they have shown to the 
" new boy ". 

The A.C.T.T. is respected among 
other Unions, not only in the en- 
tertainment industry, but in a far 
wider field, because it has set a 
standard of approach and conduct 
second to none. 


In connection with the Inter- 
national Exhibition to be held in 
Brussels in 1958 La Cinematheque 
de Beige (The Belgian Film 
Library) is organising an Inter- 
national Experimental Film Com- 
petition open to independent film- 
makers throughout the world. 

Films entered may be either in 
16mm. or 35mm., in black and 
white, or in colour, sound or silent. 
The purpose of the competition is 
" to encourage free artistic crea- 
tion, the spirit of research and 
pioneering effort." The term " ex- 
perimental " will be interpreted as 
embracing all films which " in 
their form reveal an attempt to 
explore new developments of cine- 
matographic expression, or which 
by their content touch on subject 
matter unfamiliar in the cinema." 

There will be two Grands Prix, 
one of ten thousand Belgian francs 
and one of five thousand Belgian 
francs. Full particulars of the 
competition may be obtained from 
La Cinematheque de Belgique, 
Palais des Beaux-Arts, Brussels. 


By Ralph Bond 

An impressive demonstration of 
their " Technirama " process was 
given by Technicolor at the Odeon, 
Leicester Square, on June 1st be- 
fore an invited audience of over 
2,000 people. 

Technirama is a new anamor- 
phic system which claims to over- 
come all the defects of standard 
anamorphic systems and to present 
a picture of perfect sharpness and 

These claims seem fully justified 
and if the brilliance of the Odeon 
demonstration can be repeated in 
the average release cinema, audi- 
ences are in for a treat. 

Excerpts from many films now 
in production and using the new 
process were screened, first in 
CinemaScope ratio, then in Vista- 
Vision and finally in the full "Road 
Show" ratio where a special 
double-frame projector is used. 

In each case the results were 
outstandingly good. There was 
great depth of focus, pin-point 
definition, and no fringing or fall- 
ing away at the edges. All the 
excerpts were projected without 
sound so that the audience could 
concentrate on the picture quality 
alone. (For the benefit of our 
Sound Section it should be stated 
that this does not forecast a return 
to silent films!) 

35mm. Colour Negative 

The great merit of Technirama 
is that it employs standard 35mm. 
colour negative which moves hori- 
zontally through the camera ex- 
posing eight perforation frames, 
and from this negative prints can 
be made for practically all aspect 
ratios — CinemaScope, VistaVision 
and other standard projection 
ratios, including 16mm. No new 
projection equipment is needed in 
the cinema, except for the " Road 
Show " prints where a special pro- 
jector has been designed in which 
a double-frame print from the 
negative moves horizontally 
through the projector at twenty- 
four frames per second. 

This double-frame projection 
(which incorporates anamorphotic 
correction by vertical compression 
instead of horizontal expansion) 
achieves quite amazing results and 

had the Odeon audience applaud- 
ing enthusiastically. 

Productionwise, it is claimed 
that the process increases costs 
by no more than £5,000-£7,000 on 
an average feature film. Stock 
consumption on the first five 
Technirama films increased not by 
100', but by 60 f r. as a result of 
the fewer set-ups required. All the 
usual special effects — dissolves, 
fades, matte shots, etc. — are prac- 
ticable and the results enhanced 
because of the larger negative. 

Breath-taking Beauty 

Most of the extracts shown at 
the Odeon were exterior scenes 
from films on location in France, 
Japan, Italy, and other countries, 
and it is here, probably, that 
Technirama is shown at its best. 
Scenes of breath-taking beauty 
were unfolded without a flaw to 
mar the perfection. 

Technically our industry marches 
forward in a wondrous way, but 
that ever-nagging still-small-voice 
that demands subject matter to 
match the technique will not, we 
hope, be quietened. 

Soho Fair 

A special feature of this year's 
Soho Fair will be " MEET THE 
WORLD ", an exhibition of photo- 
graphs in the hall of Notre Dame 
de France, 5 Leicester Place, 
Leicester Square, from July 15th 
to July 20th. 

The organisers' aim is to portray 
Soho at work and play: they would 
welcome the co-operation of 
A.C.T.T. members in lending 
photographs within the following 
range: studio portraits and Soho 
personalities, theatrical pictures, 
Soho activities and street scenes 
and pictures of the Soho Fairs of 
1955 and 1956. 

Will members who have pictures 
to offer please contact the Secre- 
tary of the Soho Association, Mr. 
Michael Napper. St. Anne's House, 
Dean Street. (Gerrard 2030). 

June/July 1957 





All A.C.T.T. members, and parti- 
cularly members of the Sound Sec- 
tion, will learn with regret of the 
death of W. H. Lindop, " Lindy " 
to his many friends, a long-stand- 
ing member and Sound Supervisor 
at Walton Studios. 

"Lindy" first entered the industry 
in 1933 at British and Dominion 
Studios, Elstree, leaving there in 
1936 to go to Pinewood. While in 
this studio he was mixer for 
Woman Alone, starring Elizabeth 

After the war, during which he 
was attached to the R.A.F., he re- 
turned to Denham, and after this 
studio closed down he went to 
Walton. Here he was mixer of 
such films as Scrooge, Pickwick 
Papers, Man Who Watched the 
Trains Go By and Joe Macbeth. 

W. H. Lindop was highly thought 
of by his colleagues in the industry, 
both as technician and friend. At 
the last meeting of the General 
Council, members stood in silence 
to his memory. 

The Union offers sincere con- 
dolences to his family. 


Members of A.C.C.T. will regret 
to hear of the death at the early 
age of 49 years of Harold King, 
Recording Director at A.B.P.C. 
Studios. He died on Wednesday, 
May 22nd, 1957, in St. Mary's Hos- 
pital, Paddington, after a long and 
painful illness. 

Harold was educated at Batter- 
sea Grammar School, and took an 
early interest in radio, serving as 
a ship's radio operator in his 

He first entered the film industry 
as an electrician at Beaconsfield 
Studios, and then became a 
Camera Operator on some of the 
silent films made there. 

Later, with the advent of talkies, 
he transferred to B.I. P. Elstree, 
and was employed as a Sound 
Camera Operator on the first 
sound film made there. Blackmail. 

Afterwards, returning to 

Beaconsfield he became Sound 
Mixer, and later Chief of Sound, 
and remained there until the out- 
break of war, when he took over as 
Chief Sound Engineer at British 
National Studios, Elstree. 

A.C.T.T. Moves on Features 


A.C.T.T. is making an immediate 
move for a substantial increase in 
wage rates for members working 
in Features. 

This step, which follows on the 
resolution passed by A.G.M., was 
endorsed by a unanimous vote at 
an exceptionally well-attended 
meeting of the Features Branch 
at Caxton Hall, Westminster, on 
May 14th. Despite the heat-wave 
and the lure of the open air the 
hall was so crowded that it was a 
case of ' standing-room only ' for 
many who were not able to get 
there early. 

The two main items on the 
agenda were the endorsement of 
the ban on foreign technicians 
(with which we deal on our Edi- 
torial page) and of the move for a 
wages increase. 

Speaking on the wages claim 
George Elvin reviewed the in- 
creases that had been obtained 
since the Features Agreement was 
first signed in 1947. All grades, 
he said, which did not exceed 

In 1948, after the old B.I. P. 
stages were rebuilt as A.B.P.C.'s 
new studios, he was appointed Re- 
cording Director there, a position 
he held until his death. 

Only those who worked with him 
know the amount of work and 
effort that he put into the building 
and equipping of the A.B.P.C. 
Sound Department. He had an 
appreciation of the finished pro- 
duct second to none, and was 
always striving for the best. He 
readily tried and adopted new 
techniques, but always with the 
end result in view. 

Without doubt his strength lay 
in his wide knowledge of all 
branches of film making, attention 
to detail and a dogged perse- 
verance which persisted even 
through his long illness. 

During the last year of his life, 
his courage in carrying on nor- 
mally with his job, despite the con- 
siderable pain he suffered, com- 
manded the admiration of all his 
colleagues. He never gave up and 
always maintained he would 


£12 10s. Od. a week in 1947 had 
since then received increases total- 
ling £3 0s. 4d. All grades between 
£12 10s. Od. and £25 had received 
increases totalling £2 9s. 4d. Grades 
with a minimum salary of £30 had 
received £3, while those on a 
salary of £40 and over had received 
increases which totalled £4. These 
figures represented increases of 
24% for the lowest grade, 20% to 
10% for the second grade and 10% 
for the remaining two grades. 

Against this the cost of living, 
as indicated by the Index of Retail 
Prices showed food up by 86% as 
compared with 1947, clothing and 
household goods up by 48% and 
drink and tobacco up by 23%. On 
an arithmetical basis, in terms of 
the present purchasing power of 
the pound, members on the 1947 
rate of £12 10s. Od. should now be 
getting £20. Those on the £25 rate 
should be getting £40, those at £30 
should be getting £43 16s. Od. and 
those at £40 £58 8s. Od. 

The General Secretary pointed 
out that the Eady Levy had now 
been got on to a compulsory basis, 
and A.C.T.T. was among the unions 
that had pressed for this. This 
assured an increase of £1^ million 
in the first year to the producing 
companies and there was a case, 
quite apart from the rise in the 
cost of living, for film technicians 
to receive some of this increase. 

The General Council felt justified 
in going ahead on the basis of the 
A.G.M. resolution and an official 
approach would be made at once to 
the B.F.P.A. asking for an im- 
mediate meeting to discuss a sub- 
stantial increase. " We shall make 
the application right away," George 
Elvin said, " and we shall report 
back to you. The result of our 
negotiations will depend just as 
much on your solidarity and enthu- 
siasm as it will upon our negotiat- 
ing skill." 

George Elvin added that A.C.T.T. 
had a very difficult job in these 
matters. They had members who 
were paid low rates and others 
earning very high figures. All that 
they could do was to negotiate on 
a minimum for each grade. At the 
same time they felt that members 
receiving a small personal extra 
for merit should be included in the 
increase that A.C.T.T. was seeking. 


June/July 1957 



Lindsay Anderson 

IT all depends where you sit. 
" This Year's Flop," ran the 
headline of the Kine Weekly report 
on this year's Cannes Festival, and 
its correspondent went on to say: 
" This year I got the impression 
the festival was a ' has-been '." 
Yet to many of us (myself in- 
cluded), this tenth International 
Festival at Cannes was one of the 
best of the series, and certainly 
one of the most vigorous and en- 
couraging in recent years. En- 
couraging, too, not merely for the 
quantity of good and promising 
work shown, but for the quite ex- 
tensive reporting of the films in 
the more responsible papers. 

There was one aspect of the 
occasion, though, that largely 
escaped attention, and that is our 
own showing. Yet this is an im- 
portant aspect, and one we should 
do well to consider. I wish indeed 
that more British film makers had 
been able to see that fortnight's 
bird's-eye-view of world produc- 
tion. There was much to learn 
from it. 


Since I am writing as a techni- 
cian, to technicians, there is no 
point in my straining for polite- 
ness. So I will kick off by saying 
that the really disturbing thing 
about Cannes this year, from the 
British point of view, was the 
faded appearance of our own con- 
tribution. As the young Argen- 
tinian director of The House of 
the Angel remarked to me after 
the showing of our first entry : 
" It reminds me of the sort of film 
you were making in Britain before 
the war." 

This perhaps comes as some- 
thing of a shock to technicians at 
home, where certainly both High 
Tide at Noon and Yang-tsi Inci- 
dent must be numbered among the 
more ambitious and respectable of 
our current productions. It is only 
when you get to an international 
festival, and see work presented 
not only by the big film powers 
like America, Russia, France, 
Italy and Japan, but also by coun- 
tries with resources and experience 
far more limited, that you realise 

how far we in Britain are falling 

It has been a swift reversal. The 
first time I went to Cannes, to the 
festival in 1949, our prestige 
was high : in fact we won th? 
Grand Prix, with The Third Man. 
Since 1951, however, when The 

fully, you must have some idea of 
what is being done in the cinema 
outside the industries of Britain 
and America — and this of course is 
one of the chief fascinations of 
these international festivals. Two 
or three years ago, the emphasis 
was all on the new techniques, and 


Browning Version was prized both 
for script and Michael Redgrave's 
performance, we have not won a 
single award, except for shorts — 
The Stranger Left No Card, The 
Pleasure Garden and Together. Yet 
people abroad still remember the 
palmy days of the British cinema 
in the immediate post-war years. 
" Surely," they ask, " Your selec- 
tion must be badly made? Surely 
this isn't the best you have to send 
us?" Such questions are difficult 
to answer. 

To understand these criticisms 

. . Kl Ssl \ 

on colour and Cinemascope in par- 
ticular. Every director, at every 
press conference, was asked what 
he felt about them : and of course 
every director made the same 
reply : " It depends on the sub- 
ject." This year there was no need 
to ask such questions at all. It 
was obvious that the new tech- 
niques have been largely assimila- 
ted. They are no longer considered 
particularly exciting in themselves, 
and they do not atone for weak- 
nesses in ideas, stories or direction. 
Films were shown at Cannes in 

June/July 1957 



colour and in black-and-white; in 
the old standard proportions, in 
wide-screen, in wider-screen, and 
in CinemaScope, with and without 
stereophonic sound. But whatever 
the format, one characteristic was 
common to films from almost 
everywhere : a high percentage of 
location shooting, realism of sets 
and use of authentic exteriors, are 
no longer considered particularly 
adventurous. Films today are ex- 
pected to look lifelike. To give a 
few examples. The American 
Bachelor Party (widescreen black- 
and-white : like Marty directed by 
Delbert Mann from a Paddy Chay- 
evsky script) drew a large part of 
its strength from the authentic 
New York atmosphere of its shoot- 
ing. The Russian Don Quixote 
(colour and CinemaScope) gained 
enormously from its lavish use of 
exteriors, its wide, rocky land- 
scapes, as well as its fine sets. 
Jules Dassin's Celui Qui Doit 
Mourir (black-and-white Cinema- 
Scope) could not have carried any- 
thing like such a dramatic impact 
without its extensive use of harsh 
Cretan landscape. Nor is this true 
of large-scale productions only. 
Take Rekava, for instance {The 
Line of Destiny : black-and-white 
standard screen). This is the first 
film from Ceylon to capture a truly 
national flavour, made on a tiny 
budget and with primitive facili- 
ties. Nevertheless, Lester Peries, 
its young director, has had the 
courage to break away from the 
studio-bound conventions of the 
Singhalese cinema, and so has pro- 
duced a picture which conveys 
charmingly the feel of life in the 
fields and villages of this country. 


Artificial and Enclosed 

It is by comparison with films 
like these that our own contribu- 
tions seemed sadly artificial and 
enclosed. A story like High Tide 
at Noon cries out for a lyrical, 
open-air treatment : yet even its 
documentary sequences seemed 
tame, and at every possible oppor- 
tunity we cut back into studio. 
Outside a gale was blowing, but 
the backing through the window 
remained solidly static. Even 
Yang-tse Incident, seen abroad, 
has the same timid, conventional 
feel to it. That final sequence, 
with the ships racing joyfully to- 
wards each other, did my eyes 
deceive me, or was there really no 
corresponding movement on the 
backing as we jolted back to the 
studio insert of Richard Todd on 
the bridge of the "Amethyst " ? 

Technique is finally secondary. 
Agreed. But it is even more dis- 

turbing to see how cut off our 
cinema remains from the move- 
ment of thought and feeling in the 
world outside. This was not so 
with most of the films shown on 
the screen at Cannes. Problems of 
life in the big modern cities 
(Bachelor Party); problems of 
adolescence and snobbery (The 
House of the Angel); conflicts of 
emotion and conscience (the Rus- 
sian The Forty-First); the problem 
of violence and exploitation ( Celui 
Qui Doit Mourir); the problem of 
war ... Of course we make war 
films in Britain, plenty of them. 
But how often do they get above 
the level of a boy's adventure 
yarn? One of the most powerful 
films at Cannes this year was the 
Polish Kanal, a tragic recons 1 ruc- 
tion of the last days of the War- 
saw Rising in 1944, grim, pitiless 
and magnificent. " We do not pre- 
sent this film," said the Poles, " as 
an exciting entertainment. We pre- 
sent it as a reminder. So that 

such things may never happen 
again." Surely it is only such a 
basic attitude that can justify con- 
tinued production of films about 
the war. 

Eager to Learn 

The most encouraging thing 
about Cannes this year was its 
revelation of the amount of daring, 
searching work being done by film 
makers all over the world — and of 
the rapidity with which the 
younger industries are developing. 
The Poles are eager to see films 
from abroad, eager to learn tech- 
niques from Hollywood. Yet if you 
see their films, you wonder what 
they have to learn — beyond com- 
mercial gloss. Far more impor- 
tant is the fact that they, and 
many others, have the courage 
and the capacity to tackle the 
problems of today in a really con- 

(Continued on page 90) 



June/July 1957 

temporary spirit. And this is what 
makes exciting, living cinema. 

In such an atmosphere you 
realise, as perhaps it is difficult to 
realise at home, that the panic into 

" Caberia's Nights " 


which many of us have been 
thrown by the encroachments of 
television is an unreal thing. 

The cinema can only be "killed" 
by TV if we have enfeebled it first 
by starving it of ideas and intelli- 
gence and passion; by continuing 
to rely on " safe " formulae. The 
British specialised distributor at 
Cannes who remarked that he saw 
nothing of commercial interest at 
the festival except Funny Face is 
only demonstrating his own lack 
of showmanship and imagination. 
The same lesson must be learned 
by all of us — writers, directors, 
producers and technicians to- 

We can unship as many boat- 
loads of starlets as we like on the 
beaches of Cannes and Venice. But 
our cinema will be no nearer re- 
gaining its lost prestige until we 
take it seriously ourselves, and 
bring it up to date. 


COVER STILL is from the Polish 
film They Loved Life, the story of 
the 1944 Warsaw Rising. Director : 
Andrej Wajda. 

Camera Column 

VOUR outgoing Committee did a 
I very good job — all their meet- 
ings were very well attended and 
I think we owe them a vote of 

Your new Committee elected at 
our last Camera A.G.M. are: 
Chairman, Ted Worringham; Vice- 
Chairman, Gerry Moss; Secretary, 
Harold Payne; Assistant Secre- 
tary, Manny Yospa; Feature Re- 
presentatives: Ron Boakes, Wally 
Byatt, Phil Chips, Bert Easy, 
Freddie Ford, Arthur Graham, Bob 
Huke, Walter Lasselly, Bernie 
Lewis, Morton Lewis, Jock Mills, 
Ron Robson. Shorts and Docu- 
mentaries: Ken Gordon, Lewis 
McL.od, Alf Hicks (this Com- 
mittee will co-opt a further five 
members). Newsreel: Jimmy 

Gemmell, Bill Hooker, Terry 
O'Brien, Eddie Smales. 

You can support your Com- 
mittee by turning up at all general 
Camera Section meetings. 


The General Council have en- 
dorsed our recommendation relat- 
ing to camera crews not covered 
by existing agreements as follows : 

1. SOUND. — Shooting with their 

own sound unit; a crew of 
four — Cameraman, Opera- 
tor, 1st and 2nd Assistants. 

2. sound. — Shooting as extra 

alongside unit; a crew of 
three — Cameraman, 1st 
and 2nd Assistants. 

3. silent. — Exterior shooting 

which does not involve 
lights, reflectors or artistes, 
a crew of two — Cameraman 
and 1st Assistant. 

4. All other silent shooting, a 
crew of three — Cameraman, 
1st and 2nd Assistants. 

Now it's up to you to see that 
these recommendations are carried 

The Hal Britton Fund 

A cheque has been presented to 
Mrs. Hal Britton for £90 8s. 6d. 
She wishes to thank everybody 
concerned for the kind thought. 

Good Work 

I thought Cameraman Jack 
Hilyard did a beautiful job on 

The majority of the public did 

not know the film was made here, 

or that it was photographed by an 

| Englishman. Something should be 

done about this. I have a sugges- 
tion : Why not start a Camera- 
man's Annual Award for the best 
colour and black and white photo- 
graphy in the country. We could 
call it the " Cinette "... or if you 
have any suggestions, let's hear 
about them. 

Commercial TV 

A formula has been found — give 
them good quality and use the best 

I have just been associated with 
a series of thirteen 15-minute com- 
mercials for the News of the 
World, which was well received by 
the clients. Here are the names 
of the camera crew that worked on 
the productions : 

Cameramen: Henry Alekan, 
Lionel Baines, Desmond 
Dickinson, Otto Heller, Morton 
Lewis, Cedric Williams. 
Operators: John Breen, Cec. 
Cooney, Denys Coop, Gus 
Drisse, Harry Gillam, Harold 
Haysom, Gerry Moss. 
1st Assistants: Peter Allwork, 
Jimmy Devis, Stan Evans, 
Mark Hyams, Gerry Lewis, 
Keith Nielsen, Les Paul, Reg 
Selley, Monty Tomlinson, 
Brian West, Paul Wilson, 
Manny Wynn. 
2nd Assistants: Ronnie Fox, 
Revel King, Bob Parker, 
David Rea, Jim Shimerock. 

I must apologise for not men- 
tioning the rest of the technicians, 
but this is a Camera column ! 

Plane Facts 

Desmond Dickinson told me that 
after shooting was finished he was 
going to Paris for a few days. I 
suggested that the accountant 
could buy his flight ticket from his 
salary and thus save tax. He 
answered : " Thanks very much, 
but I have my own plane." 

Of course, the story has another 
ending. We wanted him for a 
fortnight's shooting at a later date 
but he was somewhere in France. 
After calling four airports he was 
located, agreed to come back (be- 
cause his plane had broken down, 
and the money was good) — if we 
paid his air fare. And we did! 

Foreign Assignments 

Cameraman Cedric Williams is 
in Western Nigeria for their In- 

June/July 1957 



formation Service. I understand he 
will be there for twelve months. 

Cameraman Ben Hart has prac- 
tically settled down in Nairobi as 
a Producer/Director, and if you 
happen to wander around through 
the jungles of Kenya you'll most 
likely bump into Cameraman 
Bernard Kunicki shooting game — 
with a camera — for the govern- 


I had occasion to visit the 
Billancourt, Paris, Studios, w'.^re 
I saw a fashion show being shot 
for a British TV commercial. 
Cameraman Henry Alekan turned 
in a beautiful job on a Dupont 
Superior No. 2. Picon Borel was 
the operator and the Assistant 
Mike Mickachosky. I didn't get 
the Loader's name. They were so 
busy he never left the dark room ! 

While I was in Paris I bumped 
into Colonel Thornton Freeland, 
who used to work here before the 
war. He was producing and 
directing a documentary for 
the U.S. Government through 
S.H.A.P.E. It was a nice set-up : 
three camera units and 350,000 
dollars just to show Paris to the 
Yanks. Some documentary ! 

British National Studios 

There are two TV series on the 
floor. The Charlie Chan series is 
being photographed by Ken Talbot 
who, I understand, is in the run- 
ning for the title of the " Most 
Handsome Cameraman ". Opera- 
tor — Gus Drisse — who is not in the 
running. Assistant Cameraman : 
Wally Byatt; Loader: Michael 

The other series entitled O.S.S. 
or Office of Strategic Service, or 
the M.I. 5 of U.S.A. is being 
photographed by Brendan Stafford, 
" whose hair is turning silver ". 
Operator : Leo Rogers. Assistant : 
Monty " Tiny " Tomlinson. Peter 
Burke — and no cracks. And the 
Camera Department is still under 
the supervision of Terry (Limited 
Company) Turtel. 


That not enough Camera Section 
Members turned up at the A.G.M. 
I am sure if you tried you could 
make it, so start training for next 
year's A.G.M. 

" Viewfinder" 


Pictorial record of Edwardian era. 
Complete set of " Ladies' Field " 
1898-1908. Can inspect London 
Office. Sell £12 or offer. Box 209, 
Charles Sell, 5-6 Red Lion Square, 
London, W.C.I. 

Experimental Production Fund 


May I, through the courtesy of 
your journal, give some informa- 
tion to your readers about an 
activity which I believe to be im- 
portant to the future of British 
film-making : the work of the 
British Film Institute's Experi- 
mental Production Fund. 

The Fund was set up with money 
voted by the film trade Associa- 
tions from the pre-statutory British 
Film Production Fund at the time 
of the establishment of the 
National Film Theatre. It is ad- 
ministered by a Committee set up 
by the Governors of the British 
Film Institute. In the four years 
since its inception, the Committee 
has produced, or helped to produce, 
ten films — among them The Door 
in the Wall, Indian Fantasy, 
Momma Don't Allow, Rowlandson's 
England, A Short Vision and 

We continue to look for promis- 
ing projects. Our normal pro- 
cedure is, in the first instance, to 
consider outline treatments with 
an approximate budget : we prefer 
them to come from people with 
some amateur or professional 
knowledge of film production but 
this is not an invariable rule. Film- 
makers are not paid — we provide 
stock, equipment, facilities — but 
they share in the revenue from the 

We are interested in genuinely 
experimental work but have no 
preference between experiments in 
style, technique or subject. The 
films may be made on 16mm. or 
35mm. but ideas requiring 

elaborate technical means usually 
have to be rejected because of 
costs : potential applicants should 
bear this in mind. 

I hope you will agree that the 
work of the Committee in finding 
and encouraging talented young 
film-makers is important and help 
us by bringing it to the notice of 
your readers. 

Yours faithfully, 

Chairman, B.F.I. Experi- 
mental Production Fund. 


Freddy Ford's second son, 
cameraman Bernard Ford, was 
married at the end of May at 
Eastcote to Miss Celia Marilyn 
Potts, of Ilfracombe. 

Bernard Ford was cameraman 
at Pinewood Studios on Tame as a 
Turtle, A Town Like Alice, An 
Alligator Named Daisy and Reach 
for the Sky, including special 
effects. His current picture is 
Campbell's Kingdom. 

Miss Potts, who is an all-round 
sportswoman and local tennis 
champion, was Beauty Queen at 
Ilfracombe in 1954. 


We are glad to see cameraman 
Cyril Knowles back in harness 
after his recent illness. 

His work on High Flight was 
first class. 


FILM EDITOR (known locally as Film Production Officer) required by 
Federal Government of Nigeria for Film Production Unit, Information 
Service, on contract for 18/24 months in first instance. Salary accord- 
ing to experience in scale (including inducement addition) £1,170 rising 
to £1,488 a year. Gratuity at rate £150 a year. Outfit Allowance £60. 
Liberal leave on full salary. Free passages for officer and wife. Grant 
up to £150 annually for maintenance of children in U.K. Free passages 
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possible for an officer whose children are being educated in the U.K. 
to arrange for them to spend two or more school vacations in West 
Africa with free passages). Candidates must be experienced in editing 
to final stage both 16mm. and 35 mm. documentary and educational films 
and must have the ability to lay dialogue, commentary, music and effects 
tracks. A knowledge of film processing would be an advantage. Write 
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June July 1957 

Not So Free Cinema 

FILM technicians, being cynics, 
will not need to be told that 
" Free Cinema " doesn't mean any- 
thing of the kind. In fact the Bri- 
tish Film Institute, which on the 
whole does a useful job of work, 
deserves a smart kick in the pants 
for applying such a stupid generic 
title to films which it finances from 
a special fund to aid experiments 
in the medium which might not 
otherwise find financial backing. 

By " free ", the Institute pre- 
sumably means films that are not 
sponsored, tied or restricted by 
financial or any considerations 
other than the pure flow of the 
creative spirit. This makes non- 
sense of the new " free cinema " 
programme at the National Film 
Theatre where the piece de resis- 
tance is a film financed by the 
Ford Motor Company, but more of 
this later. 

Occasional Enlightened 


There is, of course, no such thing 
as " free cinema ", but there is to 
be found occasionally, and much 
too occasionally, an enlightened 
sponsorship, whether from Ford's 
or the British Film Institute, 
which is prepared to give a rela- 
tive freedom to the creative film 
maker, and lest there be any mis- 
understanding, the more this hap- 
pens the better for the health of 
our industry. This being said, the 
" free " film makers must be pre- 
pared to take criticism. Unfor- 
tunately some orthodox critics, 
punch-drunk with years of review- 
ing the standard commercial pro- 
duct, are inclined to throw over- 
board any critical sense that may 
remain to them and shout " Halle- 
lujah " when the " free cinema " 
boys come to town. 

This frame of mind does no good 
to anybody. Early British docu- 
mentary which pre-dated " free 
cinema " by twenty years or there- 
abouts, fought for favourable 
notices but also thrived on criti- 
cism and its inheritors must learn 
to do the same. 

The new programme " Free 
Cinema Three — Look at Britain " 
features two films, Nice Time and 
Evert/ Dun Except Christ mux. The 
former is made by Claude Goretta 
and Alain Tanner and purports to 
be an impression of Piccadilly 

Circus on any Saturday night. It 
is really beyond analysis because 
it is so much a personal viewpoint. 
To anyone who recalls Ruttmann's 
Berlin (1927) it would seem to be 
a dull and uninspired exercise in 
peep-hole manipulation, although 
it has its flashes of perception as 
when the National Anthem of the 
closing cinemas is played against 
the giant hypnotising neon lights 
of Coco-Cola. 

" Every Day Except Christinas " 

The more important work of the 
two is Lindsay Anderson's Every 
Day Except Christmas, which as I 
mentioned earlier, was financed by 
Ford's, whose only condition, I be- 
lieve, was that the film should 
involve transport. My recollection 
is that the old Gas Company adop- 
ted a far more " free " policy in 
the thirties when it financed that 
shattering social documentary 
Housing Problems without insist- 
ing that it should be a film in- 
volving gas ovens. 

Lindsay Anderson's film is about 
Covent Garden Market and within 
the limitations he has imposed 
himself on the conception and 
shaping of his theme, it is an im- 
pressive if much over-long exer- 
cise in a style of documentary film- 
making which was once fashion- 
able but has recently been out of 
favour. Its impact owes much to 
the brilliant, uninhibited camera 
movements of Walter Lassally and 
it is a pity that the sound track 
does not have the same mastery of 
intention and achievement as the 
camera work. 

In the programme notes handed 
out at the Press Show there is a 
long piece by Lindsay Anderson 
stating what he was and was not 
trying to do in this film. He was 
not " trying to make an informa- 
tion film, or an instructional film 
or a picturesque film." He goes on 
to say : " I feel that at the moment 
it is more important for a progres- 
sive artist to make a positive 
affirmation than an aggressive 
criticism." And : " It is in the 
light of my belief in human values 
that I have endeavoured to make 
this film about Covent Garden 

So his film must be judged 
against his intentions. Whether the 
film of aggressive criticism (Hous- 
ing Problems again) is more im- 
portant than the " positive affir- 

mation " can be argued another 
time. The only positive affirmation 
in Every Day Except Christmas is 
that the workers in the Market are 
splendid people, warm, human, 
expert at their craft, the Salt of 
th^ Earth. Between them, Ander- 
son and Lassally have proved this 
point nobly. 

But is it enough? Grierson and 
his group proved the same thing 
in other fields twenty years ago. 
often with much keener penetra- 
tion. Is Lindsay Anderson satis- 
fied with proving it all over again? 
Where does the film of human 
values go from here? When the 
next step can be taken, when 
human values can be related to 
the H-Bomb world we live in or 
may soon die in, it won't matter 
whether we call it free cinema or 
anything else because the aggres- 
sive criticism and the positive 
affirmation will be fused into a 
new kind of cinema that will be 
worth shouting about. 

I hope Lindsay Anderson will go 
on trying. 


{See also Sir Michael Balcon's 
letter on page 91) 


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June/July 1957 



General Council in Session 


A.C.T.T. is to suggest to the 
F.I.E.C. that it considers prepara- 
tion of a report for the Monopolies 
Commission on monopoly in the 
entertainment industry, as a result 
of the emergency resolution unani- 
mously passed at the annual 
general meeting in March. This 
was decided on at a special General 
Council meeting on May 29th, 
called to deal with outstanding 

Decisions on the other resolu- 
tions were as follows : 
MEMBERS AT AGM's: The Rules 
Revision Committee, together with 
the three Executive members from 
TV, should go thoroughly into the 
problem, co-opting members where 
required; they would study rules of 
other Unions with similar prob- 
lems, but would not necessarily be 
expected to produce one solution — 
if necessary, they could put for- 
ward two or three methods of 

cellor of the Duchy of Lancaster 
had received a deputation, led by 
the General Secretary, on May 14th 
and told them that the question of 
Government expenditure on film 
services, particularly overseas ser- 
vices, had been reviewed and the 
amount increased by f 80, 000; a 
further review was in progress. 
The deputation also stressed the 
need for increased use of TV and 
for a revival of the Crown and 
Colonial film units, and the Chan- 
cellor agreed to bear in mind all 
that A.C.T.T. had said, when he 
made his report to the Cabinet. 
The Council agreed that the Films 
Committees of both the Govern- 
ment and Opposition be advised of 
these talks with the Chancellor 
and that they be asked to press the 
matter at the appropriate time. 


Legislation Committee reported on 
ways of publicising A.C.T.T.'s 
general film policy, including 
getting a prominent member to 
help publicise it through the Press, 
Radio, TV and with other Trade 
Unions; the extension of Trades 
Council affiliation would also give 
added publicity, and a panel of 
speakers was considered, to be 

available to speak to Labour 
Parties, Trades Councils, Co-opera- 
tive organisations. Chambers of 
Commerce, etc. The Council also 
agreed to seek a further meeting 
with the Parliamentary Labour- 
Party Films Committee to review 
the present position and discuss 
further steps, as well as meeting 
the Conservative Films Committee 
on some points. 

TION: A number of points regard- 
ing the growing unfair competition 
in this field f film production from 
companies not observing the 
A.C.T.T. agreements had been 
considered by the Eecutive, and it 
was agreed that: 

1. A copy of the resolution should be 
sent to all Shop Stewards, asking 
them to inform Head Office of any 
cases which come to their notice. 

2. The A.S.F.P. should be ap- 
proached again with the idea of a 
Trade Union label. 

3. A Sub-Committee should be 
formed to help an Organiser col- 
lect new facts on the companies 
not observing the agreements and 
the films they made, in order to 
provide solid evidence to take to 
the A.S.F.P. The Sub-Committee 
to take evidence from Laboratory 
and TV members on the companies 
they were doing work for. 

It was also agreed that the Pro- 
gramme Contractors and TV mem- 
bers be kept fully informed of any 
" blacked " work of this character. 

sidering this resolution the Execu- 
tive, after careful consideration, 
agreed that the best policy at the 
moment was to concentrate on 
achieving an agreement with the 
Television Programme Contractors, 
after which the B.B.C. should be 
tackled again. 


Our members at Colour Film Ser- 
vices were asked to prepare a case 
for the inclusion of Kodachrome in 
the Tripack agreement, and the 
Shop's case for a higher rate was 
endorsed by the Laboratory Com- 
mittee; after discussion it was 
agreed that the matter be pursued 
locally at first, and that in the 
meanwhile, the General Secretary 
be asked to investigate the results 
of litigation against Kodak in the 
U.S.A. under the Anti-Trust Laws. 

of this resolution were endorsed by 
the Council, and it was agreed to 
press the matter whenever nego- 
tiating new agreements. 

SCHEME: It was agreed to ask a 
Sub-Committee to investigate not 
only the existing pension schemes 
in the industry, but also the wider 
question of a National Pension 

BILL SHARP: It was reported at 
the June meeting of the General 
Council that this long-standing 
member of A.C.T.T. had retired on 
pension from A.B. Pathe, and, in 
recognition of his long and sterling 
service to A.C.T.T., it was agreed 
that a small party be held in his 
honour, at which he be presented 
with a cheque and a scroll of 
Honorary Membership. 



AGENCY LTD.: Mr. K. N. Dick, 
Managing Editor of the Agency, 
in an interview with Bert Craik, 
said that a number of A.C.T.T. 
members employed in the Cutting 

(Continued on page 94) 

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June/July 1957 

Department for Paramount News 
had been transferred to the Agency 
pay-roll and would be paid under 
the terms of the Newsreel Agree- 
ment. The Company was set up 
to supply a world-wide News Film 
service, available to anyone in- 
terested. Processing would be 
done at the Rank Laboratory, 
Acton. The organisation was still 
in its development stage, and if it 
prospered as anticipated, the 
Agency had in mind offering a 
seven-day service round the clock 
which might necessitate shift work 
in the Cutting Rooms. The Coun- 
cil agreed that the TV Producer/ 
Directors' Section and all TV Shop 
Stewards be advised to watch for 
any material coming from this 
agency and let Head Office know 
if the material is going to a TV 
Company. Also, Head Office should 
advise the Agency that at this 
stage we are not prepared to com- 
mit ourselves to agreeing that all 
work of this nature would neces- 
sarily come under the terms of the 
Newsreel Agreement. 

TELEVISION: Since the last re- 
port Paddy Leech had spent a 
week-end in Manchester at the 

A. B.C. Television Studios. A large 
number of individual cases are 
being taken up, and our member- 
ship here is growing stronger in 
numbers and more conscious of 
what can be won by Union action. 
In A.R.T.V. an individual claim 
on behalf of a Production Assis- 
tant has been won. Union repre- 
sentations have also resulted in 
two more redundant Control 
Operators being re-engaged. The 
Executive Committee agreed that 
the General Secretary should write 
to the T.V.P.C.A. to the effect that, 
unless the Agreement is signed and 
operating by July 1st, strong 
action will be taken to obtain a 

APPRENTICES: Our members at 
this unit ask the Executive to 
open up negotiation < with the 
Management with regard to 
apprenticeship. They are not satis- 
fied that their scheme is working 
satisfactorily. One meeting with 
the A.S.F.P. was held but the 
problem is still unresolved. The 
Executive instructed the Organiser 
to press for a meeting with the 

" A King in New York " 

Charlie Chaplin's still camera- 
man on A King in New York, a 
picture from which appeared on 
our cover last month, was Eric 

require Writers and Directors for 
Documentary and Entertainment 
Films. Write stating experience to 
A. T. Burlinson, Guild House, 
Upper St. Martin's Lane, W.C.2. 


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June/July 1957 



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June July 1957 











Original story by Nigel Kneale 

Screenplay by Nigel Kneale and Val Guest 

Produced by Anthony Hinds : Directed by Val Guest 

A Hammer Production 

Executive Producer — Michael Carreras 

Director of Photography — Gerald Gibbs 

35mm cine negative film 

ILFORD LIMITED, Cine Sales Department, 104 High Holborn, London, W.C.\. Telephone: HOLborn 3401 

Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
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Anthony Asquith directing 
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[Still by John Jay] 



October 1957 


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October 1957 


H* Museum of Modw* ^ 



DOES the Board of Trade want a healthy 
British film industry, or could it not care 
less? Is it, in fact, aware, even now that the 
making of films is one of the country's essential, 
repeat essential, industries? 

The answer, of course, should be an unquali- 
fied ' yes ', but recent happenings in connection 
with British production facilities make one pause 
and wonder. 

A.C.T.T. members will recall that in the spring 
of last year the six Trade Unions concerned with 
film production were asked for their views on the 
measures necessary to help the industry. Among 
the many points covered in the Unions' reply 
was the question of shortage of studio space. 
We pointed out that the studio facilities then 
existing were far from adequate while the 
demand for studio space would undoubtedly 

Our advice on this point went unheeded at 
the time. 

A month ago, A.C.T. Films, faced with the 
problem of finding studio space for a forth- 
coming production, raised the matter with the 
President of the Board of Trade. 

" I have been instructed by my directors," the 
General Manager of A.C.T. Films wrote, " to 
draw your attention to the very serious situation 
that has now arisen concerning the availability 
of adequate studio space for the production of 
British films. This situation is particularly grave 
for the smaller independent producers such as 
ourselves, and we believe that we are not the 
only company of this type to be experiencing 
this problem at the present moment. 

" Several months ago we drew the attention 
of various authorities to our fears that such a 
situation would eventuate, but we were informed 
that there was no reason to suppose that a studio 
shortage of any serious proportions would arise. 

" We believe that the current situation is 
partly caused by the closing down, for structural 
reasons, of a number of stages at Shepperton 
Studios. This has meant that several produc- 
tions which were to go into Shepperton have had 
to be accommodated elsewhere, with the result 
that accommodation that might normally have 
been available to companies such as ourselves has 
now been booked. 

" This shortage is also tending, we believe, to- 
wards an increase in studio rentals and this 
again will present an additional burden to the 
producers of modest budget films. 

" We would beg to suggest that the whole 
matter should be reviewed by your Department 
or the Cinematograph Films Council or some 
other appropriate body as a matter of urgency." 

We understand that the Board of Trade, in its 
reply to this approach, took its stand on a state- 
ment made by the President of the Board of 
Trade in February 1955 in which he said: "I 
must make it plain that I have no responsibility 
for the erection or sale of individual film studios. 
The Government's policy for the film industry is 
carried out on a much broader basis." The view 
of the Board of Trade is, apparently, that a 
review of studio space would not serve any useful 

No useful purpose ? Is the encouragement of 
the smaller independent producers to make 
British films for showing not only to Britain but 
to the world a " useful purpose " or is it not? 

Is the Government aware, too, that there is a 
growing tendency to use film for the making of 
Television programmes ? It is already clear that 
American Television producers are turning in- 
creasingly to film because in this way they can 
sell a television programme not once but several 
times. In Britain we shall be faced with the 
alternatives of doing the same or seeing our tele- 
vision screens become more and more Ameri- 
canised while British TV programmes are scarcely 
seen abroad at all. Is encouraging British 
television a useful purpose or is it not? The 
Board of Trade must think again — and think 



Editorial Office: 

% Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Square, W.C.I 

Telephone: HOLborn 4972 



October 1957 


The article printed below was contributed by GEORGE ELVIN to the 
fiftieth anniversary edition of the KINEM ATOGRAPH WEEKLY, to 

whose Editor we are indebted for permission to reproduce it here 

ANE of these days we shall pre- 
" sumably reach agreement on 
the overall case for the production 
and exhibition of British films and 
how to fulfil it, but ever since my 
association with the industry a 
handful of people and a still 
smaller number of organisations 
have been battling against all 
comers — including those sup- 
posedly favouring British film pro- 
duction — either to stop the indus- 
try dying or at least to permit it 
to continue just ticking over. 

In no other industry (and mak- 
ing films is as much an industry 
as most other pursuits) would 
home producers continue to 
tolerate a position whereby they 
are very much the junior partner 
to imported product. Yet I have 
seldom known British producers, 
distributors or exhibitors collec- 
tively advocate policies which 
would lead to a substantial in- 
crease in British production. On 
the whole they have generally pur- 
sued lines to foster the hold of 
foreign product on British screens. 


The same thing can be said for 
hybrid bodies such as the Cine- 
matograph Films Council which 
are charged by Act of Parliament 
to protect the wellbeing of British 
film production and yet appear to 
spend a lot of their time taking 
action which to my view has a 
contrary effect. 

They have never once, as far as 
I can remember, agitated for in- 
creased quota. They did nothing, 
despite being urged to do so by 
the trade unions, to force the 
government to halt the scandal of 
the shortage of studio space. 

Where can an independent pro- 
ducer find space today and what 
chance have we got to hold our 
own, let alone progress, with 
Denham and a dozen or so other 
studios remaining unavailable. 

Recent tendencies are making 
matters even more cockeyed. We 
have now reached the stage where 
theoretically, at least, British 

quota can be fulfilled without a 
single film being made in the 
United Kingdom. 

Indeed, but for the doggedness 
of the trade unions, and particu- 
larly their determination not to 
countenance British films being 
made other than under the terms 
of their agreements with the em- 
ployers, we could have been flooded 
with films made in the Common- 
wealth and in Colonial territories, 
and employing a substantial pro- 
portion of foreigners supplemented 
by a modicum of local labour and 
yet still ranking for United King- 
dom quota although using neither 
our studios nor staff. 

Naturally I am all in favour of 
the development of film industries 
in the Commonwealth and 
Colonies, but not at our expense. 


Recent kite-flyings are even 
more startling. We had John 
Davis's speech at the 1957 CEA 
Conference at Gleneagles which 
advocated a get-together with 
some of the Continental countries. 
I am all for the entente cordiale, 
provided it is to the common bene- 
fit of all parties and at the expense 
of other imported films. But 
rumour has it that there is a 
school of thought in both France 
and Great Britain advocating the 
possibility of altering our own 
British quota to a combined Anglo- 
French quota, so that French films 
can be shown over here as if they 
were British. 

Kuropean common markets are 
all very well if they are really 
common markets and in fact, 
build up a genuine free trade area. 
But the whole purpose is nullified 
if that free trade area merely 
whittles down the small degree of 
protection at present reserved by 
the British government for wholly 
British product. 

Fancy the British public going 
to the cinema and seeing a British 
quota film, not a word of which it 
can understand unless it is dubbed 
or sub-titled! 

So as a slogan for Kine.'s next 
50 years I commend: "British 
films for Britain — and more of 

But these days it is pointless for 
the entertainment industry to talk 
merely in terms of cinematograph 
films. There is on the one hand 
wholesale condemnation of tele- 
vision by the film industry and 
yet, on the other, film interests are 
quite properly carving their own 
niche in this new medium. 

Now the Rank Organisation has 
joined ABC and Granada in the 
television field. Yet presumably 
our film industry will continue to 
breathe words of fire against tele- 
vision when it is not too busy 
pretending it doesn't exist at all. 

One of the best safeguards our 
industry has had with reference to 
the impact of television is the fore- 
sight of the film trade unions who 
have always looked upon it as a 
legitimate field of organisation. 
Not only, therefore, are the film 
trade unions numerically strong in 
that field, but they have also for 
that very reason helped to mould 
its policy along the right lines. 

TV Agreement 

To mention the obvious example, 
the trade unions have now reached 
agreement with the programme 
contractors, albeit not without 
some struggle, which will prevent 
television production being in 
cheap competition with films in the 
labour sense. 

It is about time other film in- 
terests took an equally realistic 
attitude and thought out and 
sought out policies which will en- 
able films and television to de- 
velop as complementary partners 
in the entertainment industry. 

Let us hope that when our 
grandchildren are asked to write 
articles for the centenary year of 
Kink, or Kine. and Television 
Weekly as it will doubtless by 
then be known- the first fifty 
years can be dismissed as the 
nightmare which they have largely 

On the other hand, let us hope 
that the 50 years about to begin 
will be a period in which we have 
all learned from the mistakes of 
the past and will record the pro- 
gress of an industry serving the 
public in the twin fields of cinema 
and television providing an in- 
creasing number of British pro- 
grammes until we can hold our 
own with ease with the rest of 
the world. 

Above all, in doing this we can 
provide a service to the British 
public which only a British in- 
dustry, because it is British in all 
meanings of the word, can fulfil. 

October 1957 



A LTHOUGH this year's T.U.C. 
-^was in the main quiet and 
non-controversial, many policy re- 
solutions of great importance to 
the Trade Union Movement were 
agreed and the fact that most of 
them were passed unanimously or 
with large majorities, and without 
the necessity of a single card vote, 
enhances their importance. 

Both the resolutions submitted 
by A.C.T.T. were well received and 
carried unanimously. 

Ralph Bond moved our resolu- 
tion on the H-Bomb and as five 
other trade unions had submitted 
similar resolutions we all got to- 
gether and agreed to a composite. 
The main point of the resolution 
was to demand that H.M. Govern- 
ment propose to the U.S.A. and the 
Soviet Union an immediate and 
unconditional suspension of all 
nuclear tests as a first step to- 
wards the banning of these 

Public Demonstration Urged 

In concluding his speech Ralph 
Bond suggested that the General 
Council of Congress should pre- 
sent the resolution to the Prime 
Minister, backed up by an officially 
called public demonstration in 
which the members of every 
affiliated Trade Union would be 
called upon to participate. 

This suggestion was greatly 
applauded and our own General 
Council might consider following 
it up with a letter to the Secretary 
of the T.U.C. 

George Elvin moved our second 
resolution on restrictions and 
monopoly of the Press, which in- 
structed the General Council of 
Congress to take all appropriate 
action to halt all monopolistic 
tendencies in the field of publica- 
tion and reiterated the necessity of 
the Trade Union and Labour 
movement retaining policy control 
over its own daily newspaper. 

Another resolution of a similar 
character had been withdrawn so 
we had a clear field on this issue. 

It is impossible to mention all 
the resolutions considered by Con- 
gress, but we give below a sum- 
mary of the more important de- 

On wages and economic policy 
a composite resolution moved by 
the Transport and General 
Workers' Union and supported by 
six other unions was unanimously 
carried. It denounced the Tory 
Government's refusal to direct the 
country's economic and social 
policies, rejected wage restriction 
in any form and reaffirmed deter- 
mination, while prices and profits 

The General Secretary and Ralph Bond report 
on the 


remain uncontrolled, to take such 
steps industrially to ensure that 
wages keep pace with rising costs. 
It also called on all trade unionists 
to work for the early return of a 
Labour Government. 

Congress wholeheartedly de- 
nounced the new Rents Act and 
called upon the next Labour 
Government to repeal it. 

It carried with enthusiasm a 
resolution demanding an im- 
mediate and substantial increase 
in Old Age Pensions, reaffirming 
its belief that all workers are 
entitled on retirement to a mini- 
mum pension sufficient at least to 
provide the necessities of life and 
ensure a reasonable measure of 

On the Health Service it de- 
manded an end to all charges on 
prescriptions and the removal of 
restrictions on spending in hos- 

On the question of public owner- 
ship a resolution was carried in- 
structing the General Council to 
work out a policy for social owner- 
ship and to consult with the 
Labour Party. 

A resolution calling for public 
ownership of the Machine Tool 
industry was carried. 

European Common Market 

Although there was no resolu- 
tion dealing with the proposed 
European Common Market the 
General Council made it clear that 
in its opinion this country would 
fare worse if it kept outside the 
free trade area than if it went in. 
At the same time the General 
Council would require firm assur- 
ances from the Government con- 
cerning the maintenance of full 
employment, etc., although some 
speakers pointed out that such 
assurances even if given were no 
sure guarantee. Congress was 
obviously divided on this question 
and no vote was taken. 

A special report on the position 
of the " Daily Herald " was given 
in private session and members 
will now be aware of the new 
arrangement that has been made 
whereby the " Daily Herald " has 
greater freedom of action although 
undertaking to continue to support 

the general policy of the Trade 
Union and the Labour movement. 

Coming back again to inter- 
national affairs, two other resolu- 
tions in addition to our own were 
carried. The first demanded that 
China should be admitted to the 
United Nations, and the second 
called for the establishment of a 
United Germany to be achieved by 
the withdrawal of all foreign 
troops from Europe and the estab- 
lishment of a system of collective 
security involving all European 
countries and including the U.S.A. 
and the U.S.S.R. 

International Solidarity Fund 

A special report was also given 
on the proposal of the Inter- 
national Confederation of Free 
Trade Unions to create an inter- 
national solidarity fund and the 
General Council of the T.U.C. has 
set as its target the raising of 
£500,000 during the next three 
years. It proposes to raise this 
not by asking for donations from 
the central funds of the affiliated 
Trade Unions, but by each Trade 
Union urging its members to con- 
tribute individually 6d. a year over 
the next three years. It is not a 
statutory levy but Congress ob- 
viously felt that such a fund 
should be raised, although one or 
two delegates were a little dubious 
of some of the purposes for which 
it is to be used. Our own General 
Council is required to consider this 

In the elections for the new 
General Council, George Elvin 
received 1,229,000 votes, but Tom 
O'Brien was again elected for our 

Your delegates were also able to 
perform useful service for A.C.T.T. 
outside the Congress as, for ex- 
ample, in getting the immediate 
support of N.A.T.K.E. and the 
E.T.U. for a telegram of protest to 
the National Federation of Profes- 
sional Workers who we understand 
were sympathetically considering 
the admission of the Association 
of Broadcasting Staffs. We made 
it clear that if the A.B.S. was 
accepted for the affiliation, 
N.A.T.K.E. and ourselves would 


Organisers' Page 


October 1957 



I AST month I referred to the 
J failure of members who obtain 
employment to notify Head Office. 
I do not apologise for quoting the 
following instance which occurred 
during Bunny Garner's absence on 
holiday. I had been trying to 
satisfy a studio's request for staff 
and the conversation was roughly 
as follows: "These are available 
Miss A, Miss B, and Miss X ". 
There was a burst of laughter 
from the studio end of the 'phone. 
" Miss X has been working here 
for the past three months ". My 
face was slightly pink. It does 
emphasise the point I have made 
previously, that our members, on 
commencing work, should advise 

Congratulations to Vivian 
Temple-Smith, A.C.T.T. Shop 
Steward at Pinewood, on his elec- 
tion as Chairman of the Joint 
Works Committee. This is I be- 
lieve the first occasion at Pine- 
wood when an A.C.T.T. member 
has been so honoured. It is a 
fitting tribute to the sterling work 
put in by Vivian in the compara- 
tively short time that he has been 
our Steward there. 

Friends will be pleased to hear 
that Peter G. Nash has had a very 
successful six months as a lighting 
cameraman in the Pagewood 
Studios, Sydney, Australia. He 
has now gone to New Zealand to 
work with the New Zealand Film 


An enquiry recently into absen- 
teeism (not, I hasten to add, in 
A.C.T.T. grades, or in fact in the 
film industry at all) asked a 
worker concerned this question, 
" Why do you only work three 
days per week ? " The reply was 
" I have discovered it takes that 
much to keep me." 

Hush Telegraph 

In all industries the bush tele- 
graph is a well used and respected 
institution, and in films it acts with 
great speed. A meeting had been 
held at one studio to discuss a 
location, details had been dis- 
cussed and after E.C. approval the 

same evening the company were 
advised. The first thing the next 
morning was an enquiry from 
another studio which gave details 
of what they had heard had hap- 
pened. For once the bush tele- 
graph was too quick. But it does 
keep you on your toes! 

Many locations are at present 
operating, and cover great dis- 
tances. One small but undoubtedly 



pleasant one is on the " Queen 
Elizabeth " to New York and back, 
others are on the Jungfrau in 
Switzerland, in Dublin, and on the 
Virgin Islands; others range from 
the Tyrol to Brighton. 

A meeting was held recently of 
a location which was proceeding 
abroad to elect Unit Steward and 
settle one or two minor details. 
This was settled and I felt that all 
was well. A day or two later I 
met an officer of one of the other 
unions concerned. It seems that 
some of his members had signed 
individual contracts and were as 
a result very much worse off than 
their colleagues in the other two 

Individual contracts may look 
very nice on paper but on more 
careful scrutiny they may well 
show that the worker is going to 
be the loser. In this particular 
case no A.C.T.T. personnel were 
involved, but it should warn our 
members that the normal con- 
ditions laid down are in their best 
interests. In the few grades where 
individual contracts are specifi- 
cally mentioned in A.C.T.T. agree- 
ments experience has shown our 
members what to look for, and it 
is well known that these members 
have their contracts "vetted" from 
time to time. 

Freddy Ford 

Bunny Garner has passed on to 
me a letter from Freddy Ford who 

is working in Canada as Director of 
Photography in Regal Films, 
Toronto, which I think members 
will like to read. He writes: 

Many thanks for placing me on 
the list for the above situation. 
I am delighted at being here to 
photograph the first black and 
white CinemaScope feature being 
produced in this country by a 
Canadian company. 

I never thought I should have 
an opportunity of shooting a 
modern cowboy story. 

I have a complete crew: 
Operator Jackson Samuels (Cana- 
dian), 1st Assistant Manny Alpert 
(American), 2nd Assistant Don 
McMillon (Canadian), 3rd Assis- 
tant Ted Winters (Canadian), 
Clappers Loader Denny Murphy 
(Canadian) and two Grips 

Just returned from our first 
week's shooting on location, 
" Owen's Sound," Georgian Bay. 
Real cowboys, ranches, horses, 
cattle and gun-running bandits, in- 
cluding the old sheriff in this film. 
The cast, actors from Hollywood, 
Alison Hayes, Jim Davis, John 
Hart (of The Last of the Mohicans 
fame), Tony Brown (The Boy and 
His Dog), Austin Willis and many 
other featured players. Saw some 
of the rushes on Saturday. 
Apparently the Director, Sam 
Newfield, is delighted with the 
photographic quality. The boss, 
Mr. S. Newfeld, had a representa- 
tive from 20th, Hollywood, visit 
the studio to view our efforts, he 
sent me congratulatory messages. 
The star, Alison Hayes, has re- 
ceived another contract from the 
company because of her good 
looks and performance, she also 
thanked me for my efforts on her 
behalf. So, you see, we are making 
pretty good headway over here. 

It's a great country, food ex- 
cellent, hospitality outstanding, 
and generous people who are will- 
ing to accept knowledge from per- 
sons who arrive here with ex- 
perience and willing to teach them 
the up-to-date methods of our 

K 'ontinued on page 142) 

October 1957 



Sir Alexander Korda 

I am writing a biography of the 
late Sir Alexanda Korda. Though 
his life and work are fully docu- 
mented by printed material, I 
would be extremely grateful to 
receive any record of personal ex- 
periences from people in the film 
industry who have worked with 
him or had personal contact with 

All material will be acknow- 
ledged and due credit will be given, 
if so desired, to those supplying it. 

Yours sincerely, 
Paul Tabori, 

14 Stafford Terrace, 

London, W.8 



We very much regret to announce 
the death of Charles Sell, Adver- 
tisement Manager of Film and TV 

Charles Sell, senior partner of 
Charles Sell and Co., had for many 
years been associated with the 
trade union movement as an ad- 
vertising expert. After getting a 
thorough grounding in advertising 
he joined the staff of the Police 
Review Publishing Co. Ltd. before 
the first World War. He started 
his own advertising agency in 
1919. In 1930 he became Adver- 
tising Manager and then Director 
of the Police Review. 


We also announce with regret 
the death, just as we were going 
to press, of Louis Levy who, 
although primarily a musician, was 
for many years a very popular 
member of A.C.T.T. as associate 
producer. We hope to publish a 
fuller obituary notice next month. 

We Thought Too 


In our report of the agreement 
on Foreign Technicians last month 
we referred to " extra permits 
where required in respect of each 
film exceeding £3,000,000 budget 
cost." Of course, we like to think 
big, all film technicians do, but in 
this case we thought a little too 
big. The figure should, of course, 
have been £300,000. 


" As any producer would readily 
agree, the finest production com- 
pany in the world would only be 
wasting its talents if it had not 
the benefit of skilful and intelli- 
gent co-operation from the pro- 
cessing laboratories." 

These thirty-four words sum up 
as concisely as possible the part 
played by the laboratories in the 
film industry. They are taken from 
"The Rank Laboratories (Denham) 
Ltd ", a sumptuous publication de- 
signed to give their customers an 
insight into the work of the 
Denham and Olympic laboratories. 

Some idea of the scope of these 
laboratories can be gained from 

A Technician" s 

A. E. Jeakins, who write's 
'A Technician's Notebook', 
is at present away on loca- 
tion. We shall resume this 
feature on his return later 
in the autumn 

the fact that they can handle for 
processing over 5,500,000 feet of 
film weekly or, as the Rank 
brochure points out, the equivalent 
of over 650 full-length feature 
prints. On top of that they pro- 
cess each week more than half a 
million feet of film for pictures in 
production and also many hun- 
dreds of prints of short films and 
two twice-weekly newsreels. 

First-class Staff 

" Services on such a scale ", the 
brochure says, " would clearly be 
impossible without first-class 
laboratory staff — and in this we 
can claim to be second to no other 
similar organisation in the world. 
Working for us we have over eight 
hundred experienced and highly- 
skilled people. Well up in the 
forefront of all the latest technical 
developments, ever-ready to tackle 
any unusual and unexpected prob- 
lems that may arise, they are none 
the less ready to apply their skill 
and ' know-how ' to their ordinary 
day-to-day work." 

It is good to see this tribute to 
the work and skill of A.C.T.T. 
members in both laboratories. 

After outlining the various 
types of film processing jobs done 
at the laboratories the brochure, 
with illustrations and diagrams, 
tells the story of " How colour 
gets on to film ", starting from 
the moment when the colour nega- 
tive film is exposed in the camera, 
a story which will perhaps come 
as something of an exciting shock 
to technicians working in some 
other sections of the industry. 

Book Review 

Lo Duea (distributed in Britain by 
The Rodney Book Service, 9-11 
Monmouth Street, London, W.C.2). 

The commercial side of the 
entertainment business is so taken 
up with the quest for filthy lucre 
— and sometimes the filthier the 
more lucrative — that it is espe- 
cially refreshing to find a film 
trade paper attack " the ever-so- 
saucy-sexy-Frenchy exploiteers 

who trade on the British public's 
ignorance of their neighbours 
across the Channel." 

So wrote Bernard Charlesworth, 
in an important recent article in 
the Daily Film Renter, on the 
irresponsible get-rich-quick pro- 
ducers of " strip-tease exploitation 
specials ", which he believes have 
done so much harm to the French 
industry. But the author of 
L'Erotisme au Cinema adopts 
an intellectual approach to smut — 
which to me smells of hypocrisy — 
and perhaps this is emphasised for 
British readers by having the text 
in French. 

Not many pictures in M. Lo 
Duca's book are from English 
films, but pride of place is given 
on the frontispiece to one from 
that boring experimental film, 
The Pleasure Garden, which I 
seem to recall one critic as saying 
consisted of the dancing of fairies 
of both sexes. Ugh! 

This French book could well stay 
on the other side of the Channel. 

Christopher Brunei. 



October 1957 



" W^ITH the introduction of 
" speech into motion pictures 
we lost the key to people's under- 
standing of each other." 

That thought-provoking state- 
ment is the considered view of 
Lilian Gish, veteran stage, screen 
and television actress, who has 
just completed work at Shepper- 
ton on Anthony Asquith's Orders 
to Kill. 

This does not mean that she is 
not happy in a speaking role. Far 
from it. " I have never had ten 
happier days anywhere in the 
world," she told me, " than work- 
ing with Anthony Asquith on this 
picture. The whole time there 

says a thing like that. She is 
quiet, relaxed and speaks thought- 
fully and very modestly about a 
medium to which she is utterly 



in an interview with 

Martin Chisholm 

devoted. There is not the slightest 
doubt about that. Take this 


was a sense of working with a 
group of artists and technicians 
who, each and all, were dedicated 
to just one thing, getting it right. 

" There was one sequence in 
which I was very troubled by 
doubts. I felt that perhaps I had 
not been able to convey what was 
in the director's mind, and, for the 
first time in my life I felt that 
I could not face seeing my 

There is nothing intense in 
Lilian Gish's manner when she 

question of speech on the screen, 
for instance. 

" What we see," she said, " is so 
much more important than what 
we hear. It makes so much 
greater impact on us. We who 
work in motion pictures should 
never for one moment forget that 
the quickest way to the brain is 
through the eye." 

Does this mean that even today, 
with all the available richness of 
new sound techniques, there is 
scope for a revival of silent films ? 

I put that question to Miss Gish. 
" I think ", she replied, " that 
what we should aim at is not, 
perhaps, silent films, but films in 
which instead of dialogue we 
marry music to vision. And when 
I say ' music ' I certainly do not 



[Still by John Jay] 

exclude the music of words. The 
words of Shakespeare, for in- 
stance, are music in themselves, 
and has a finer film been made 
than Henry the Fifth? 

" You may smile at what I am 
going to say, but I'd like to tell 
you this. In the old silent days 
we felt that we were working in 
a medium that the Bible had pre- 
dicted, a medium which had the 
possibility of growing into a uni- 
versal language which could make 
all men brothers. Yes, we really 
felt that, and we felt that this 
medium was so much greater, so 
much more important, than any 
of us. We worked with that idea 
constantly in our minds. The 
medium had power and we felt 
our responsibility in its use 

Lilian Gish thought for a 
moment, and then she added: "I 
think that too many men have lost 
that sense of responsibility to the 
medium. We had better get back 
to it if we don't like the state of 
the world as it is today." 

October 1957 



The very lack of words was the 
most important factor in building 
up audience participation. The 
audience had to draw on its 
imagination to supply the speech 
and it was much more moved in 
consequence. " People remember 
me today from the silent films ", 
she said, " but they don't remem- 
ber because it is me. They re- 
member because they had to 
supply in their own minds, and 
with their own feelings, the works 
of the human beings I portrayed." 


Turning her mind back to the 
'twenties, Miss Gish recalled that 
D. W. Griffith, after a number of 
great silent films, made his first 
talkie in 1921, a picture called 
Dream Street. Then he discarded 
talkies. " Talking films are 
suicide ", he said. " With talkies 
we can only play to the English- 
speaking world." 

I think that some such thought 
is in Lilian Gish's mind now when 
she speaks of what film, properly 
used, can do. "As things are we 
have lost a world audience," she 
said. " Translations of speech 
dubbed as captions over vision are 
not good theatre, not good film 
and not good art. . . . But pictures 

Above: " The Red 
Balloon ". Below: 
D.W.Griffiths' great 
spectacular picture 
" Intolerance ". 

like La Strada, M. Hulot's Holiday 
and, I am told, though I have not 
seen it yet, The Red Balloon, in 
which words are subordinate to 
married sound and vision, can go 
out and speak to the world. Japan 
has lovely things to send us, too. 
Why should not every country 
send out its own particular 
beauty to the rest of the world, 
so that we can participate in its 
poetry of sound and movement." 

More Difficult Task 

When Miss Gish speaks of 
' songs ' she is not speaking of 
music in the dictionary sense but 
what she calls ' the music of 
understanding '. She is the very 
first to admit that creating these 
' songs ' is a more difficult task 
than the making of dialogue films 
because, when the audience has to 
supply its own thoughts and 
words and feelings the film maker 

(Continued on page 138) 



October 1957 

Lilian Gish 


has to give it a great deal more 
to work on. 

Another difficulty is the short- 
age of writers capable of working 
in this way, but here, she sees 
great hope in television. Tele- 
vision, in her view, in the United 
States, has developed far more 
writing talent than films have 
done. Twelve Angry Men, No 
Time for Sergeants, Marty and 
The Young Stranger have all come 
from TV writers and directors, she 
pointed out. 

" In what other medium than 
television can you write some- 
thing, see it next month, learn 
from it and then sit down to write 
again? There is no other medium 
in which the young playwright can 
learn so much so fast." 

Epic Without Script 

The problem of writers turned 
Miss Gish's mind back to the early 
pictures of D. W. Griffith and she 
reminded me of something that 
will perhaps come as a shock to 
many younger film technicians. 
When he made the greatest spec- 
tacular film of all time, Intolerance, 
a twelve-reel picture taking in, in 
one great sweep, the fall of 
Babylon, the Crucifixion, the 
massacre of St. Bartholomew, and 
a modern story of capital and 
labour, Griffith had no script at 

He did his own research, con- 
ceived his story and the linking 
sequences, shot mile on mile of 
film. The only writing that was 
done was by the cutter who 
watched the last rehearsal and 
took down the sequence of events. 
Until then there was nothing on 
paper. He held the whole thing 
in his head. " That ", said Lilian 
Gish, " was the measure of the 

We Need Writers 

That does not mean that the 
cinema can do without writers 
today. Very far from it. 

" The cinema needs writers," 
Miss Gish said. " We have in- 
vented wonderful machines and we 
;uc not able to live up to them. 
We need writers who are prepared 
to stand up and say what they 
believe in and, it necessary, to 
take the count for their beliefs. 
The world respects a man who 
believes something deeply. We 

Talking Points 

IET us think big. Not for its 
-J own sake, but because our place 
in the entertainment industry de- 
mands it. These grandiose thoughts 
are forced on me by some industry 
developments, particularly in the 
Rank Organisation. 

This large monopoly has never 
believed in putting all its eggs in 
one basket. If it can make money 
from television, from radio sets or 
snap-shot cameras, it will. But, 
basically, it still must sell tickets 
at the cinema box-office, which is 
quite a problem these days. With 
other entertainments vieing for the 
smaller amount of spare cash one 
has these days, new methods are 
being tried to attract regular cus- 

The method, which is also being 
tried in the U.S.A., is to build up 
a sort of community centre around 
the cinema — a place where, as a 
change from watching TV at home, 
you can get entertainment to suit 
a variety of tastes and moods. 

You want some of the world's 
finest ballet? Well, as an experi- 
ment Paul Czinner's film of the 
Bolshoi Ballet, featuring the won- 
derful Ulanova, is being exhibited 
in selected Rank theatres. 

Want to Dance? 

You want to learn to dance well? 
For a small fee you can go to one 
of the Victor Silvester dance 
studios attached to a number of 
Gaumonts and Odeons. Strict tempo 
music will be played from record- 
ings (Musicians' Union, please 
note) while you are given expert 
tuition in the art of ballroom 
dancing. A significant point in the 
colour advertising trailer, now be- 
ing shown, is that the appeal is to 
both young and old. This will mean 
that a growing number of people 
will get the habit of going in the 
direction of a Rank cinema, and 
this will help build up a film audi- 
ence of all ages and of all intellec- 
tual levels. 

need men of conviction. We have 
been making ' The Cowboy and the 
Ladies ' since 1906. It is time that 
somebody got up and said some- 
thing new, or some old truth in a 
new way. We need it said beauti- 
fully and said with courage." 

To provide the pictures for these 
cinemas of the (not so distant) 
future, our producers will have to 
think big too, as there is a great 
shortage of good, attractive big 
productions to hold the audiences. 
But, in order to get them into pro- 
duction, big money has to be 
raised. This has been one of the 
major problems facing our Holly- 
wood competitors. 

The American producers have 
been glad to sell their old pictures 
to TV in order to finance their new, 
giant-sized productions, and film- 
makers over here are looking 
around for similar sources of cash. 
Anyone got a few thousand to 

" Depth Men " 

I am indebted to Leslie Adrian, 
writing in The Spectator, for in- 
troducing me to Motivational Re- 
search, for it seems that M.R. is 
likely to be most important for 
those making TV commercials. 

The folk in M.R. are called 
Depth Men (a new grade for the 
TV Agreement, perhaps?), because 
they use psychological probings to 
find out the reasons why one buys 
certain goods and not others. You 
have probably guessed from this 
jargon that the whole thing 
originates in the United States. 

This is the way the scheme is 
said to work: associate some novel 
feature with what you are selling, 
publicise the novelty, and you're 

For instance, the size of the car 
that people will buy appears to 
be the all-important feature. For- 
get whether they will ever find 
enough parking space, think big 
and make the cars long and low, 
and with a little bit of skilful pub- 
licity they are sold. Not only the 
size, but the smell and noise the 
car makes are said by the Depth 
Men to be important as prestige 

The sound made in slamming the 
doors is especially valuable to 
sales. " We've got the finest door 
slam this year we've ever had ", 
Chevrolet boast about their 1957 
models, " a big car sound . . ." 
That wonderful sound effect the 
BBC has of a breaking glass shop 
window tempts me to suggest that 
it would be most useful in TV com- 
mercials. " Yes," says the com- 
mentator (commentators always 

October 1957 



seem to start sentences with 
"Yes"), "when you smash up 
our new 1957 model you, too, will 
make the big car crash." 

Leslie Adrian is careful to add 
that we stolid British may not be 
affected in quite the same way as 
the Americans. Just the same, he 
adds that we may not be able to 
avoid this impact of the motiva- 
tional advertising man, as leading 
U.S. firms are now spending an 
estimated twelve million dollars a 
year on M.R. Among them, he 
says, are companies like Goodyear, 
General Motors and Lever 
Brothers, who have associates 
here. " It obviously gets results," 
he ends, " and it is certainly going 
to arrive over here before long." 

There is quite a lot that the 
M.R. characters can achieve, but 
they should not kid themselves 
that the human mind is just putty 
in their talented hands. Most 
people have a healthy streak of 
independence in their mental 
make-up — and that helps them to 
reject a lot of spurious propa- 
ganda. Besides, there are other 
good qualities in life apart from 



On August 21st there was a 
large-scale meeting of the ABC 
Drama Department which, under 
Dennis Vance, is now one of the 
largest and most active depart- 
ments in commercial television. In 
addition to a weekly output which 
consists of an hour's mystery play, 
a ninety minute Armchair Theatre 
and a half-hour serial, ABC are 
also setting up their own film unit 
to produce a series of half-hour 
films for transmission here and 
also for sale to U.S. markets. 

Dennis Vance complimented the 
unit on the year's work and men- 
tioned that the viewing figures 
throughout had been agreeably 
high, very frequently topping large 
scale light entertainment and 
variety programmes. He also ex- 
pressed the pleasure of the man- 
agement at the signing of the 
agreement with the A.C.T.T. and 
looked forward to a bright future 
for all concerned. 

A new departure is the creation 

of an experimental evening when 
new ideas will be tried out on 
closed circuit from the Manchester 

Personnel at the moment work- 
ing for ABC Drama include — 
Directors : George More O'Farrel 
(whose experience in Television 
stems from early Alexandra Palace 
days in 1936), Stuart Latham, John 
Burton, John Knight, Wilfred 
Eades, Philip Dale, Guy Verney 
and Vivian Milroy; Studio Man- 
agers : Richard Hayward, Bill 
Daw, Pat Kennedy, Anthony Fin- 
negan, Chris La Fontaine and Don 
Gollan; P.A.s: Esther Frost, Janice 
Willet (shortly moving to adver- 
tising magazines as a director), 
Bernice Dorskind, Verity Lambert, 
Mavis Lock and Judith Dent. Cast- 
ing Director is Dodo Watts (for- 
merly with ATV and 20th Century 
Fox), and the Script Department is 
under Mae Murray. 



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1 III 


October 1957 

The General Council in Session 

PEARL & DEAN: Bessie Bond 
reported that members at Pearl & 
Dean, Acton, were being threat- 
ened with dismissal if they refused 
to work overtime, and it was also 
reported that they were not get- 
ting the Cost of Living Bonus 
under the A.S.F.P. Agreement. 
The Organiser told them that 
overtime was voluntary and that 
this should be made clear to the 
management, and the members 
unanimously agreed that the Shop 
Steward and Deputy should take 
these two points up with the com- 

At the Dover Street branch of 
the company an excellent meeting 
had been held to set up proper 
A.C.T.T. organisation, when a 
Shop Steward and Committee were 
elected. A dispute had arisen over 
the dismissal of a member of the 
Cartoon Unit, and the members 
agreed to ban all overtime until 
she was reinstated or pending 
negotiation; the Organiser called 
a general meeting of members in 
the Pearl & Dean group of com- 
panies, and after a very full dis- 
cussion, the members agreed to 
support the overtime ban. At a 
meeting with the management the 
Organiser pointed out that the 
Union's main concern was with the 
future policy of the company in 
regard to dismissals, but if they 
would give an assurance that 
they would in future consult with 
the Union before dismissals took 
place we should accept their offer 
of four weeks' wages to the mem- 
ber. The company said they would 
be prepared to do so, provided the 
A.S.F.P. advised them to. The 
Executive instructed the Organiser 
to continue to press for the assur- 
ance from the company, and gave 
their full support to the members 
in the action they had taken. 

Subsequently it was reported 
that the company had given the 
necessary assurances. 

Secretary reported that Max 
Anderson, Derek Twist, and him- 
self had met representatives of the 
Government's Films Committee to 
discuss the Government's report 
on the use of films in the Home 

and Overseas Information Services 
and particularly the report of the 
Chancellor of the Duchy of Lan- 
caster. They put forward the 
union's point of view on the White 
Paper, which they criticised along 
the lines of the Editorial in the 
August Film and TV Technician. 
They gained the impression that 
the representatives of the Com- 
mittee shared their view that the 
White Paper was inadequate in 
many respects and they would wel- 
come more being done, but the 
points on which they were opposed 
to Union policy were on such 
matters as the revival of the 
Ministry of Information and the 
Crown and Colonial Film Units. 
However, they did share the 
Union's view that more should be 
done and that particularly, there 
must be some super-Ministerial 
co-ordinating body which could co- 
ordinate and initiate production 
and they gave an assurance that 
they would do their best to make 
this clear either informally to the 
Minister or when the matter is 
discussed in the House of Com- 


A report was received from the 
F. & G.P. regarding a free issue 
of the journal to all members. 
After going carefully into the esti- 
mated cost of such a free issue 
compared with the present cost, 
they recommended that the matter 
should be left open for the time 
being, as the additional expendi- 
ture would be considerable and 
they felt the extra money could be 
used to better effect on other 
things. After a very full discussion 
the following resolutions were 
carried by the Executive: 

(a) Thai the F. & G.P.'s recommen- 
dation be endorsed. 

(b) That the F. & G.P. look into the 
possibility of producing some 
kind of half-yearly bulletin for 
free issue to the membership. 

(c) That shops should be advised to 
appoint a Journal Steward Cor- 
respondent responsible for sales 
of the journal and for obtaining 
local material. 

This report was agreed by the 
< teneral Council. 

WOOD: Fred Tonge reported on 
proposals for two dubbing crews 

to work in shifts, one from 6 a.m. 
to 3 p.m., and another from 3 p.m. 
to midnight; payment would be 
the guaranteed day plus overtime 
at appropriate rates for those nor- 
mally in receipt of overtime for 
the hours outside the guaranteed 
day. Transport and catering 
would be arranged as and when 
required. The Pinewood Shop 
Steward reported to the Council 
that the Editorial Department 
refused to work these shifts, and 
the view was forcefully expressed 
at the Council that the proposed 
arrangement was tantamount to 
compelling members to work over- 
time. It was agreed that the 
Organiser should visit Pinewood 
and discuss the matter further on 
the basis of these views. 

REPORT: The Management of the 
Rank Laboratories were asked for 
a meeting to fix local rates for 
the grades of VistaVision and 
Optical Colour Printers but were 
unable to accept the proposal on 
the grounds that other Labora- 
tories employ these grades. It has 
now been decided to discuss the 
matter at F.L.A. level and a meet- 
ing will be arranged on Mr. 
Strachan's return from holiday. 

TELEVISION: Paddy Leech had 
attended meetings of the TV Nego- 
tiating Committee and over the 
week-end of August 10th-12th had 
attended meetings with the 
General Secretary and Brother 
Tony Shine in London, Manchester 
(two meetings) and Birmingham. 
Two other meetings, also to en- 
dorse the National Agreement, 
were held in London, for A.T.V. 
and I.T.N, members. Approxi- 
mately 300 Television members 
were present at these seven meet- 
ings, the voting in favour of en- 
dorsing the agreement being 280 
for, 20 against. The Organiser has 
attended " assimilation " meetings 
to correlate job titles and grades 
in the various companies into the 
Agreement in A.R.T.V., A.B.C. 
Television Manchester (two meet- 
ings) and in I.T.N, with the local 

(Continued on page 142) 

October 1957 



Joint statement by 

The British Employers' Confederation 

and the Trades Union Congress 

JJN increase in personal savings would 
be greatly to the advantage of Great 
Britain at this time. That is a conclusion 
upon which employers and trade union 
leaders as well as all the political parties 
are commonly agreed. 

One important benefit which, we believe, 
would result from a substantial increase 
in savings would be to slow down the rate 
of the inflation of our currency which has 
been going on steadily for a number of 
years. Another would be to help us to 
finance the very heavy programme of in- 
dustrial development Great Britain must 
undertake if we are to compete success- 
fully with other highly mechanised indus- 

trial nations in the markets of the world. 
In addition, individual savers who are able, 
even with some effort, to put something by 
regularly will find it greatly to their 
personal advantage to do so. 
For these reasons we, representing respec- 
tively the British Employers' Confedera- 
tion and the Trades Union Congress, call 
upon all leaders of industry among em- 
ployers and the trade unions to give their 
best help to the National Savings Commit- 
tee in their campaign during the coming 
winter to increase by not less than five per 
cent, the number of people saving through 
National Savings Groups in places of 

(Sir Thomas Williamson) 

General Council Trades Union Congress 


Cv4u4^f A*x 


(Sir Colin Anderson) 
British Employers' Confederation 


1 12 


October 1957 

General Council 

( Continued) 

Stewards and officials. Membership 
is steadily increasing, and our 
organisation in several companies 
improving. Local committees have 
given support to ensure that the 
Agreement is properly imple- 

The Organiser has written to the 
Secretary of the T.P.C.A., enclos- 
ing B.F.P.A. rates and terms, 
seeking the implementation of film 
rates for our members in TV com- 
panies' film departments. A letter 
has also been sent to Scottish Tele- 
vision, enclosing the National 
Agreement and informing them 
that A.C.T.T. expects the Agree- 
ment to be observed, and stating 
that Union officials are willing to 
enter discussions immediately. Our 
members there have also been sent 
copies of the Agreement and asked 
to recruit membership as speedily 
as possible. 

Secretary reported that a reply 
had been received from the 
Ministry of Labour stating that, 
as a result of representations 
made by local bodies, the Minister 
had finally decided that although 

the continuation of the full-time 
exchange at West Drayton was 
not justified in view of its 
proximity to the exchanges at 
Uxbridge and Hayes, the office 
should be kept open part-time, 
these arrangements to commence 
on September 2nd. 


COMMITTEE: As the Agreement 
to cover Television Producer/ 
Directors still has to be nego- 
tiated, the following were ap- 
pointed to be the Negotiating Com- 

George Elvin 

P. S. Leech 

Desmond Davis 

Max Anderson 

Bob Dunbar 

Derek Twist 

together with one Producer/Direc- 
tor from each company including 
the B.B.C. and a nominee from the 
TV Branch Committee. 

NICIANS were reported to be 
working in Britain; with the ex- 
ception of two Dutchmen, all were 
Americans. They were all working 
with permits from the authorities. 



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Organisers' Page 

( Continued) 

business, so enabling them to 
establish a sound foundation for 
producing feature films in this 
country which, although young, 
has terrific possibilities. 

The first impressions on arriv- 
ing here were the huge cars they 
run and the high speeds. In the 
studio car park the scene was 
amazing — looked as though a con- 
vention was in progress, but the 
cars only belonged to the studio 
employees. Mind you, petrol is only 
2s. 6d. a gallon and of course no 
purchase tax. These cars are 
certainly a comfortable ride. 
Rennie-du-Pont, the 1st Assistant, 
has already bought one. I expect 
most of the other English boys 
will follow suit, one hardly ever 
sees an English car out here. 

Rennie is on a TV Tugboat 
Annie series and is also thoroughly 
enjoying the experience out here. 
When in the studio shooting a few 
tests, many of our A.C.T.T. tech- 
nicians came along to see me. I 
was surprised, for I never realised 
we had such a strong contingent 
out here, almost like being back 
home in our studios! 

Yours sincerely, 

Freddy Ford. 

Where Else Could This 
Happen ? 

On one of the very few really 
hot evenings we have had this 
summer a meeting of one of the 
Sections was held at 2 Soho 
Square. The Secretary was very 
sensibly clad in open-neck shirt 
and flannels and one or two of the 
other members were in normal 
summer dress, including a lady 
member in summer frock. The 
meeting was presided over, how- 
ever, by a Chairman, no doubt on 
the way to another function, 
resplendent in white tie and tails, 
complete with gardenia. I won- 
dered if it could happen in any 
other union than A.C.T.T. I was 
reminded of Verdi's wonderful Aria 
in Tosca, " Recondita Armonia " 
(Strange harmony of contrasts). 

Shop Steward's comment on a 
membership form recently re- 
ceived: " Even after making allow- 
ances for the sponsor's eulogies, 
this applicant, I find, is still a good 


October 1957 

Guide to British Film Makers 


Year of Production : 1956. 

Studio: Shepperton. 

Laboratory: Humphries. 

Producing Company : Beaconsfield Films 

Producer: Peter Rogers. 

Associate Producer: Gerald Thomas. 

Stars: Ralph Richardson, Margaret 

Director: Muriel Box. 

Scenarists: Sydney and Muriel Box. 

Camera Department : Lighting Camera- 
man, Otto Heller; Camera Operator, 
Gus Drisse; 1st Camera Assistant 
(Focus), Brian West ; Other Camera 
Assistants, James Hopewell, Alan 

Sound Department: Recordist (Mixer), 
George Stephenson ; Sound Camera 
Operator, Sandie Fairlie: Boom 
Operator, Jack Davies; Other Assis- 
tant. Alan Blay (Maintenance); Dub- 
bing Crew, Red Law and Crew. 

Art Department: Art Director: George 
Provis; Assistant Art Director, Ron 
Benton; Draughtsman, Roy Walker. 

Editing Department: Editor, Jean 
Barker; 1st Assistant, Marcel Dur- 
ham; Dubbing Editor, Chris Green- 

Production Department: Production 
Manager and/or Unit Production 
Manager, Jack Martin; 1st Assistant 
Director, Jack Causey; 2nd Assistant 
Director, David Bracknell ; Con- 
tinuity, Phyllis Crocker; Production 
Secretary, Nona Binstead; Publicity 
Director, Ken Green. 

Stills Department: Still Cameiaman, 
Norman Hargood. 


Year of Production : 1957. 

Studio: Merton Park. 

Laboratory: Denham. 

Producing Company: Anglo-Guild Pro- 

Producer: Alec C. Snowden. 

Associate Producer: Jim O'Connolly. 

Stars: Mary Murphy, Rod Cameron, 
Peter Illing, Meredith Edwards. 

Directors: Montgomery Tully, David 

Scenarist: Charlies Eric Maine. 

Camera Department: Lighting Camera- 
man, Bert Mason ; Camera Operator, 
Bernard Lewis; 1st Camera Assistant 
(Focus), Peter Jessop; Other Camera 
Assistants: I. McMillan. 

Sound Department: Recordist (Mixer), 
Keith Barber; Sound Camera Opera- 
tor, Alan Mills: Boom Operator, Tom 
Otter; Boom Assistant, Keith Pam- 
plin; Dubbing Crew, Ronald Abbott. 

Art Department: Art Director, Wilfred 
Arnold; Assistant Art Director, Wil- 
liam Holmes. 

Editing Department: Editor. Geoffrey 
Muller; 1st Assistant, Ina Davidson; 
Dubbing Editor, Derek Holding. 

Production Department : Production 
Manager, William Shore; 1st Assis- 
tant Director, Peter Crowhurst; 2nd 
Assistant Director, Charles Mans- 
bridge; 3rd Assistant Director, Arthur 
W. Nicholls; Continuity, Marjorie 

Stills Department; Still Cameraman. 
Frank Otley. 


Year of Production : 1956. 

Studio: Pinewood. 

Laboratory: Rank Laboratories (Den- 

Producing Company: Rank Organisa- 
tion Ltd. 

Producers: Michael Powell, Emeric 

Production Controller: Arthur Alcott. 

Associate Producer; Sydney Streeter. 

Stars: Dirk Bogarde, Marius Goring. 
David Oxley, Demitri Andreas, Cyril 

Directors: Michael Powell, Emeric 

Scenarists: Michael Powell, Emeric 

Camera Department: Lighting Camera- 
man, Chris Challis; Camera Operator, 
Austin Dempster; 1st Camera Assis- 
tant (Focus), Steve Claydon ; Other 
Cameia Assistant, Ronald Anscombe. 

Sound Departm nt: Recordist (Mixer), 
Charles Knott; Sound Camera Opera- 
tor, Martin McClean; Boom Operator, 
Basil Rootes; Boom Assistant, Ken 
Reynolds; Dubbing Crew, Gordon K. 
McCallum, W. Daniels, C. le Mes- 
surier; Music, Ted Drake. 

Art Department: Art Director: A. 
Vetchinsky; Assistant Art Director 
(Set), Maurice Felling; Draughtsmen, 
Lionel Couch, Harry Pottle, Bruce 
Giimes; Dress Designer, Renate 

Editing Department; Editor, Arthur 
Stevens; Assembly Cutter, N. Ack- 
land ; 1st Assistants, Jack Gardner, 
A. Godfrey; Other Assistant, Noiman 
Wanstall : Dubbing Editor. Archie 
Ludski ; Dubbing Assistant, C. Lan- 

Production Department: Production 
Manager, Jack Swinburne; 1st Assis- 
tant Diiector, Charles Orme ; 2nd 
Assistant Director, Harold Orton; 3rd 
Assistant Director, David Tringham ; 
Continuity: Gladys Goldsmith; Pro- 
duction Secretary, Jean Tisdall; Unit 
Publicist, Jean Osborne. 

St'lls Department: Still Cameiaman, 
Harry Gillard. 

Special Processes: W. Warrington, F. 
Geoige, H. Marshall, C. Culley, D. 


Year of Production : 1956. 

Studio: Beaconsfield Film Studios. 

Laboratory: Humphries. 

Producing Company : Beaconsfield Films 

Producer: Peter Rogers. 

Stars: Pat Kirkwood, Laurence Harvey. 

Director: Gerald Thomas. 

Scenarists: Peter Blackmore, Hubert 

Camera Department: Lighting Camera- 
man, Jack Asher; Camera Operator, 
Leo Rogers; 1st Camera Assistant 
(Focus), Hugh Salisbury; Other 
Camera Assistant, Rod Fisher. 

Sound Department: Recordist (Mixer), 
Bill Sawyer; Sound Camera Operator, 
George Rice; Boom Operator, Don 
Roberts; Other Assistant (Mainten- 
ance). Frank Sloggett; Dubbing Crew, 
Anvil Films Ltd. 

Art Department: Art Director: Nor- 
man Arnold: Assistant Art Director, 

Thomas Goswell ; Draughtsman, E.ic 

Editing Department: Editor, Peter 
Boita; 1st Assistant, Michael Round; 
Other Assistant, Fred Burnley; Dub- 
bing Editor: Eric Boyd-Perkins. 

Production Department : Production 
Manager and /or Unit Production 
Manager, "Freddie" Pearson; 1st 
Assistant Director. Rene Dupont; 2nd 
Assistant Director, Kim Mills: Con- 
tinuity, Rita Davison; Production 
Secretary: Pauline Chessell ; Pub- 
licity Director, Vic Betts. 

Stills Department: Still Cameraman, 
Fred Williams. 


Year of Production : 1957. 

Studio: Southall. 

Laboratory: Rank Laboratory (Den- 
ham) Ltd. 

Producing Company: G. H. W. Produc- 
tions Ltd., for Church & Chapel Films 

Executive Producer: Clifford Jeapes. 

Production Controller: Jas. B. Sloan. 

Stars: Hugh David. Meredith Edwards, 
Harry Fowler. 

Director: Norman Walker. 

Scenarist: Lawrence Barrett. 

Camera Department: Lighting Camera- 
man, Lionel Banes, F.R.P.S. (2nd 
Unit. Alan Hewison); Camera Opera- 
tor, Leo Rogers; 1st Camera Assistant 
(Focus), Jim Turrell : Other Cameia 
Assistant, Ronnie Rogers. 

Sound Department: Recordist (Mixer). 
Dick Smith (2nd Unit, Derek Taylor); 
Sound Camera Operator, Brian 
Hunter; Boom Operator, John Brom- 
ag?; Maintenance, Fred Goodes : 
Music, Henry Reed; Dubbing Crew, 
Maurice Askew, Bill Germain, Ed- 
ward L. Nakhimoff. Bernard Childs. 

Art Department: Art Director, Herbert 
Smith; Draughtsman, Tom Goswell. 

Editing Department: Editor, Duncan 
Spence: 1st Assistant. Brian Hickin ; 
Other Assistant. Terry Hine. 

Production Department : Production 
Manager. Harry Woof; 1st Assistant 
Director, John Peverall: 2nd Assis- 
tant Director, Roger Pennington: 
Continuity, Gladys Reeve. 

Stills Department: Still Cameraman, 
Frank Bellingham. 


Year of Production : 1957. 

Studio: Walton. 

Laboratory: Kay Laboratories Ltd. 

Producing Company: Butcher's Film 
Productions Ltd. 

Producer: W. G. Chalmers. 

Stars: Julia Arnall. Sheldon Lawrence, 
Anton Diffring. 

Director: Maclean Rogers. 

Scenarist: Norman Hudis. 

Camera Department: Lighting Camera- 
man, Geoffrey Faithfull: Camera 
Operator, John Winbolt ; 1st Camera 
Assistant (Focus), John Shinerock; 
Other Camera Assistant. Peter Mac- 

Sound Department: Recordist (Mixer), 
Cliff Sandall; Sound Camera Operator, 
Aubrey Lewis; Boom Operator. Jim 
Perry; Maintenance. C. Earl. 

(Continued overleaf) 

October 1957 




Art Department: Art Director, John 

Editing Department: Editor, Harry 
Booth: 1st Assistant. Marianne 
Temple; Dubbing Editor, Leslie 
i 'asker. 

Production Department: Production 
Manager and/or Unit Production 
Manager, Charles Permane; 1st Assis- 
tant Director, George Pollard; 2nd 
Assistant Director, Jan Saunders; 
Continuity, Doris Martin; Production 
Secretary, Doris Prince. 

Stills Department: Still Cameraman. 
Cyril Stanborough. 


Year of Production: 1957. 

Studio: Walton. 

Laboratory: Denham. 

Producing Company: Ravstro Films 

Producer: Raymond Stross. 

Associate Producer: Victor Lyndon. 

Stars: John Derek, Milly Vitale. 

Director: Don Chaffey. 

Scenarist : Leigh Vance. 

Camera Department: Lighting Camera- 
man, Stephen Dade: Camera Opera- 
tor, Gerry Massy-Collier; 1st Camera 
Assistant' (Focus). Mark Hyams; 
Other Camera Assistant, Peter Mac- 

Sound Department: Recordist (Mixer). 
Cliff Sandall; Sound Camera Operator, 
A. Lewis; Boom Operator. D. Cavan- 
agh ; Dubbing Crew, R.C.A. 

Art Department: Art Director. John 
Stoll; Draughtsman, W. Benson. 

Editing Department: Editor, Charles 
Hasse; 1st Assistant, Abel Goodman; 
Other Assistant, Audrey Bromberg; 
Dubbing Editor, Noreen Ackland. 

Production Department: Production 
Manager, Clifton Brandon; 1st Assis- 
tant Director, Rene Dupont ; 2nd 
Assistant Director. Kim Mills; 3rd 
Assistant Director, John Archer; 
Continuity, Jane Buck; Production 
Secretary^ Cynthia Maugham. 

Publicity Department: Publicity Direc- 
tor. Leslie Frewin; Unit Publicist, 
High Sampson. 

Stills Department: Still Cameraman. 
Ricky Smith. 



I: vi i utive Producer: Edgar Anstey. 
Production Manager: Len Oirdlestone. 
Asst. Production Manager: Ruth Pratl 


Technicolor from Kodachrome 
21 minutes 
Producer: Ian Ferguson. 
Diret tot Tonj Thompson. 
Cameramen: Robert Paynter, Reg 

Edit 01 John Legard. 
Assistant Cameramen: Derek Witham, 

Cordon Thornton. 
Assistant Directors: Michael Healv, 

Edward Scott. 
Assistant Editors Harry Hastings. 

David Plumb. 
Commi ntary written by Harry Green. 
Commi ntni <i \pnl;i n In/ Stephen Murray. 
Music composed by Elisabeth Lutyens. 
/,-. . 01 ding : Anvil Films. 


16mm Kodachrome 14 minutes 
Producer: Ian Ferguson. 
Director: Tony Thompson. 
Cameramen: Ronald Craigen, Robert 

Paynter, Bill Williams (SNR). 
Editors: Margot Fleischner, Fat Jones. 
Assistant Cameramen: Trevor Roe, 

Lewis McLeod, Hugh Raggett. 
Assistant Director: Frank Hoi ton. 
Assistan' Editor. Hazel East. 
Commentary u ritten by Paul Le Saux. 
Cumin ntarn spoken hi/ Stephen Jack. 
Recording : date Studios, Elstree. 


16mm Kodachrome 15 minutes 

Producer: Edgar Anstey. 

Director: Tony Thompson. 

Cameramen: Ronald Craigen. James 

Editor: John Legard. 

Assistant Cameramen: Trevor Roe, 
Jack West. 

Assistant Director: Donald Wash- 

Assistant Editor: David Plumb. 

Commenary written by Paul Le Saux. 

Commentary spok-n by Frank Duncan. 

Recording: Pathe. 


17 minutes 

Producer: Edgar Anstey. 

Directors: Kenneth Fairbairn. Peter 
M. Sims. 

Cameramen: Ronald Craigen, Robert 

Editor: John Trumper. 

Assistant Directors: John H. Arm- 
strong, Paul Khan, Ken Cooper. 

Assistant Cameramen: Cyril Moorhead. 
Trevor Roe. 

Assistant Editor: Wilfred Fisher. 

Commentary written by John Trumper. 

Commentary spoken by Michael Good- 

Music composed by Julian Leigh. 

!.'■ i hi ding Am il Films. 


Technicolor print from Eastman- 
colour 26 minutes 
Producer: Ian Ferguson. 
Director: John Taylor. 
Cameramen: James Ritchie, David 

Wat kin. 
Editor: John Legard. 
Assistant Directors: Ken Cooper, Roy 

Meredith. Edward Scott. 
Assistant Cameramen: Jack West, 

Lewis McLeod. 
Assistant Editor: David Plumb. 
Commentary written by John Moore. 
Commentary spoken by Alec Clones. 
Music composed by Ralph Vaughan 

Recording: Ken Cameron. Anvil Films. 


Technicolor print from Eastman- 
colour 21 minutes 

Producer: Stewart McAllister. 

Director: Joe Mendoza. 

Cameramen: Robert Paynter. 

Editor: Margot Fleis. liter 

Assistant Cami rninan : Cyril Moorhead. 

Ass stunt Director: Ken Cooper. 

.1 ss stant Editor: Pat Jones. 

Commentary written by Maurice Lind- 
saj . 

c, mi ii>, a a spoh ii In/ Stewart Mc- 

MuS'c i "hi :n i si 1 1 and mi ainit d by Cedric 

Thorpe i >a^ ie 

/.'. - 01 dxng Anvil Films. 


45 minutes 
Producer: Edgar Anstev. 
Director: Kenneth Fairbairn. 
Cameraman: David Watkin. 
Editor: Alf Chapman. 
Assistant Cameraman: Jack West. 
Assistant Editor: Rosina Pedrick. 
j '« . hi ding Am il Films 


13 minutes 

Producer: Ian Ferguson. 

Director: Norman Prouting. 

Cameraman: David Watkin. 

Ed tor: John Legard. 

Assistant Director: Roy Meredith. 

Assistant Cameraman: Jaik West. 

Assistant Editor: Joyce Clarke. 

Commentary written by Norman Prout- 

Commentary spoken by Colin Wills. 

Music composed and played by David 

Recording: Anvil Films. 


33 minutes 

Producer: Stewart McAllister. 
Director: Tony Thompson. 
Cameramen: Ronald Craigen, Robert 

Paynter. James Ritchie, John Turner. 
Editor: Bert Eggleton. 
Assistant Cameramen: Lewis McLeod. 

Jack West, J. Hermges. 
Assistant Director: Ken Cooper. 
Assis'ant Editor: Valentine Rylands. 
Recording: Anvil Films. 


(R^-edit of above) 

17 minutes 

Producer: Edgar Anstey. 
Director: Tony Thompson. 
Editor: John Trumper. 
Assistant Editors. Rosina Pedrick. Wil- 
fred Fisher. 
Commentary written by John Trumper. 
B( ■ hi ding : Anvil Films. 


13 minutes 

Producer: Edgar Anstey. 
Director: Kenneth Fairbairn. 

Cmni i aim n : Ronald Ciaigen, David 

Editor: John Legard. 
Assistant Directors: Edward Scott, 

Dmial '• V ;i li'-oiirne. 

Assistant Cameramen: Lewis McLeod, 

Jack \V> st. 
Assistant Editor: David Plumb. 
Commentary written by Paul Le Saux. 
Commentary spoken by Duncan Carse, 

Conrad Phillips 
/. ecoi ling Am il Films. 


/» tin credits for tins tilin published 

ui tin August Supplement tin nami of 
Ko\ Boulting was given as Supervising 

Fit, tnr Wi an informed that thert 
n ,is m fact no Supervising Editor for 
tins picture. G. T. Ambler should 

Imvi In i n hstid OS 2nd Assistant, not 
Asst n, hlu Cutter. We regret these 

October 1957 


i i:; 




'You see . . . 

I he fg multe no «».v/r## charge 

for using prc-Hashed 

printing stock a ' 

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Apply for free technical brochure 


Telephone: HUNter 0408-9 



October 1957 



Director of Photography 




" Esther Costello " looks 
like being a winner, 
Mr. Krasker. 

Yes — we're, all very 
pleased. It's the sort 
of Jilm anybody would be proud 
to have had a hand in. 

What about the actual 
photography? Are you happy 
about that? 

Oh, more than happy. 
As you know, we shot it all 
on Ilford FP 3. 
/ chose FPZ specially 
bun us, of its wide tone scale, 
and fine grain 
which is particularly 
suitable f at- 
wiil, sen , n pro], rtinn. 


Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians. 2 Soho 
Square, London, and Printed by Watford Printers Limited, Watford, Herts. 



Association of Cinematograph, Television and allied Technicians 
Vol. 23 No. 154 PRICE 6d. 




Maydana's Donkey (U.S.S.R.) 
(See pa ye 152) 



November 1957 


We refer not to the vogue for " vital 

statistics " but to the excellent characteristics of 

Gevaert film stocks. Whichever Gevaert 

film you use, negative, positive, duplicating, 

recording, reversal, you may be sure that 

the sensitometric characteristics are ideally 

suited for the purpose. 


GEVAERT LIMITED Motion Picture Department 


November 1957 


Ths Museum of Mod— Art 


OUR experience in Scottish Tele- 
vision shows how Trade Unions 
can never take anything for 
granted. Here we are having just 
signed an agreement with the Pro- 
gramme Contractors Association 
and having obtained some two 
years back a Fair Wages Clause in 
the Television Act. In theory, 
therefore, all is set without fear, 
trouble or strife, for any technician 
employed in commercial television 
to receive the rate for the job and 
work under Trade Union condi- 

But what happens in Glasgow? 
We make the appropriate initial ap- 
proaches to the management draw- 
ing attention to our existence and 
referring to the Agreement exist- 
ing to cover our members. We re- 
ceive a polite letter back from Roy 
Thomson, the proprietor himself, 
implying all will be well and as 
soon as the official opening is off 
his company's hands they will meet 
us in London to negotiate the 
agreement. Which is fair enough. 

Members Incensed 

That was in August. We wait, 
and nothing happens. So after the 
station has been on the air about 
six weeks an organiser goes up to 
Glasgow and is informed by the 
Managing Director that it will be 
impossible to meet us for three or 
four weeks. He hedged on the 
immediate rectification of abuses 
which it was known existed. Our 
members had other views. They 
were incensed at the management's 
attitude, seeing they were working 
between sixty and seventy hours a 
week without a penny overtime, 
even the sickness and suchlike 
clauses of the National Agreement 
were not being observed, and rates 
were in many cases several hun- 
dred pounds a year below what 
they should have been. Some tech- 
nicians actually putting shows on 
the air were being paid as little as 
£6 and £8 a week — and that for a 
60-70 hour week. 

So Organiser Paddy Leach went 
back to the Managing Director and 
said we could only agree to a 
delayed meeting if some agreement 
could be reached on back dating 
and payment for overtime. The 
company would not agree to this. 

The following day, Thursday, 
October 3rd, our members unani- 
mously passed a resolution that 
unless they received satisfactory 
assurances in connection with the 
national agreement, including com- 
mencement of negotiations within 
a week, immediate implementation 
of a 44-hour week with overtime 

By the 


payments thereafter, and operation 
of the proper rates from the date 
of this first meeting, they would 
take the appropriate industrial 
action from 6 p.m. the following 
Tuesday, October 8th. 

Despite Provocation 

This led to meetings in London, 
first with Bert Craik and then, on 
Monday, the day before zero hour, 
between Paddy Leach and myself 
and Mr. J. A. Jelly, the General 
Manager of Scottish Television. 
Despite the provocation to dig in 
on the strict letter of the law, we 
met the company on the point 
which, admittedly, must be causing 
them some difficulty : namely the 
number of trainees they have had 
to employ at the outset. Taking 
care of this in Clause 2, we signed 
the following agreement : 

1. That as from the 1th October, 1957, 
all the Clauses of the Agreement 
between members of the Pro- 
gramme Contractors Association 
and the Association of Cinemato- 
graph Television and allied Tech- 
nicians shall be operated with the 
exception of Clause 29 as provided 

2. That there shall be immediate dis- 
cussions between the company and 
the union to vary for an agreed 
period of time, if it should be found 
necessary, the maximum number of 
trainees which may be employed. 

3. The company agree to observe the 
provisions of the Schedule to the 
Agreement with payment as from 
the next pay-day. llth October, 
1957, and to this end discussions- 
shall commence immediately be- 
tween the company and the union 
to agree an Assimilation Schedule. 

4. With reference to the dates of ob- 
servance of the above clauses it is 
understood that these refer to the 
commencement of liability of the 
company and the actual payment 
shall be made to the members of 
the union as soon as reasonably 

Agreement Repudiated 

All was well at last, we thought. 
But whilst Paddy Leach was 
travelling up to Scotland to report 
back to our members, I got a 
phone call from the Press at 
Harrogate, where I had travelled 
to attend a conference for A.C.T.T., 
in which I was told that Mr. Thom- 
son had repudiated the agreement 
signed by his General Manager. 

So Paddy had to start all over 
again and make clear to the com- 
pany that unless the agreement 
stood our members' resolution be- 
came operative and Scottish Tele- 
vision would go off the air, as 
originally decided. We had the full 
support of the other two unions 
organising in Scottish Television 
and there was no doubt that our 
action would be completely effec- 
tive. The company, therefore, had 
second thoughts and decided to 
recognise the agreement they had 

Two issues ago we reviewed in 
film & tv technician a publication 
by the Trades Union Congress on 
the Tolpuddle Martyrs. We don't 
appear to have travelled far in 120 
years, do we? Congratulations to 
our Scottish members on their 
magnificent stand. At least they 
haven't been sentenced to seven 
years' transportation for a "crime" 
not all that dissimilar from their 
Trade Union pioneers in Dor- 



Editorial Office: 
2 Soho Square, VV.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Sq., W.C.I 

Telephone: HOLborn 4972 



November 1957 

Lab Topics 


The highlight of recent weeks 
on the Laboratories side was the 
presentation, at a party held at 
the Chandos Hotel just as the last 
issue of the Journal was going to 
press, of a Scroll of Honorary 
Membership and a small financial 
tribute to Bill Sharp on his retire- 
ment from Pathe. 

Bill thus becomes the fourteenth 
Honorary Member of the Union, 
and the first Laboratories member 
to receive this honour for long and 
untiring service to A.C.T.T. 

Telegram from President 

Anthony Asquith, away on loca- 
tion, sent the following telegram : 

" I am more sorry than i can 
say, dear Bill, to be unable to join 
tonight in honouring a most dis- 
tinguished member of A.C.T.T. and 
a greatly esteemed colleague and 
friend, and I hope you will accept 
my apologies with all the spirit the 
occasion demands. The unit join 
me in wishing you all possible hap- 
piness today and every day. Tony 

George Elvin made the presen- 
tation. " Bill Sharp is unique," he 
said, " we couldn't do better than 
make him Laboratories Honorary 
Member Number One ". He re- 
called how Bill started his working 
life delivering milk in his spare 
time to help his parents and from 
that had gone " to the dizzy 
height of working at Pathe for 
some thirty-five years." 

Working-class Base 

" In our early days," George 
Elvin said, " we knew that we 
must have some industrial base to 
our Union, a hard base of people 
bred and born in a working-class 
background. We knew that what- 
ever happened, if there was a row 
with the management we should 
have colleagues in the laboratories 
who would give us sound and solid 

" When we decided to press for 
better conditions Bill was in the 
vanguard. One of the reasons for 
the respect for our Union in the 
industry was that we have had 

people like Bill Sharp who loyally 
.-support their colleagues. 

" The last thing that Bill Sharp 
wants is the limelight, but we in 
A.C.T.T. are everlastingly grateful 
to people like you and Frank 

said. " Without it I should have 
fallen flat on my face in the first 
few weeks." 

He recalled the day when he 
joined the Union. " Everybody 
seemed afraid to say it was a 

Labs' Honorary Member Number One 

Fuller who have helped to build 
our organisation." 

Mr. Bill Fielder, General Man- 
ager of Pathe, who, with Mr. Cyril 
Phillips of Pathe was among 
A.C.T.T.'s guests, said : " Bill has 
worked for Pathe so long that 
we've got no records to check up 
on him ! We wish him the best of 
luck and a happy and long retire- 

Bill Sharp, in reply, paid a tri- 
bute to the help of his A.C.T.T. 
friends in the Lab. " I couldn't 
have carried on without it," he 

Trade Union," he said. " They 
called it an organisation. I asked, 
' Is it a Trade Union or not?' and 
when they said ' Yes ', I said, 
' Well, there's my dollar, take it '. 

" After that I thought, ' We've 
started this thing and we've got 
to carry it on '. My father had had 
thirteen weeks on strike and had 
to go and sing in the streets to get 
strike pay. That was one of the 
things that had impressed on my 
mind that a Trade Union was the 
one thing I should be in if ever I 
got a chance." 

November 1957 



Some days after the ceremony 
George Elvin received a letter 
from Bill Sharp, in which he said : 

" Now I would like to say 'thank 
you ' to A.C.T.T. for the honour 
that has been bestowed upon me; 
it is something that I shall cherish 
until the end of my days. Although 
I have received this honour, I think 
a great deal of the credit must go 
to our Branch, who in the early 
days gave me so much confidence 
by putting their faith in me that 
I was able to go forward as I did, 
and I can assure you that I had no 
regrets; also credit is due to the 
great help given to me from the 
General Council in those early 

" It gives me great pleasure to 
look back to the days from 1935 
to 1939 and then to look upon 
A.C.T.T. as it stands today, and 
then realise that all the work put 
in by all those early members was 
not in vain. It is my wish to see 
that A.C.T.T. go on gathering 
strength as time goes on, and also 
to see that they do not lose that 
personal touch which I think has 
enabled them to reach the strength 
they are in today. 

" My wife is very proud of the 
Scroll of Honour and says when it 
is framed it will take up a very 
prominent position in our home. 
She would like to have been with 
us all last Thursday, but owing to 
health reasons she cannot travel." 

Three old hands leaving 


Syd Bremson reports from Den- 
ham : 

Everything, it is said, goes in 
threes, and the following is no ex- 
ception. First Charles Wartman, 
second Adam Black, and third, Pop 
Wingrave, each within a month or 
two of completing twenty-one 
years' service, have all left 
within a month or two of each 

Charles Wartman was in charge 
of Stores since the opening of the 
Laboratories in 1936, a quiet, un- 
assuming fellow just doing his job 
in spite of the handicap of being 
minus one leg, lost during the 
1914-18 war. He managed, with 
the aid of his artificial leg, to drive 
a small car from Cookham to Den- 
ham and would, in fact, be still 
doing so had he not, for purely 
personal reasons, changed his 
home to Shoreham. Good luck 
Charles ! 

Adam Black, affectionately 


THE passing nf Louis Levy, 
whose death was announced 
last month, must bring recollec- 
tions in the memories of many 
members who had the great 
pleasure of meeting and working 
with so unique and delightful a 

His vast knowledge and ex- 
perience of films and the applica- 
tion of music thereto went back 
to the dim and distant past of 
early silent movies — in the latter 
period of which he and his 
orchestra were the showpiece of 
the new luxury " Pavilions " then 
shaping the exhibition side. Film 
lovers stormed the theatres as 
much to hear and see Louis Levy 
as to view their favourite films 
and stars. 


With the advent of " Talkies " 
the industry was thrown into a 
greater turmoil than " wide- 
screen ", TV, or any other tech- 
nical advance has ever created — 
small wonder then that with un- 
completed films shelved, produc- 
tion stopped, studios outdated and 
useless overnight, Producers of the 
calibre of Sir Michael Balcon, 
Victor Saville, Alfred Hitchcock 
and the late Robert Flaherty, to 
name a few, were delighted to 
know that Louis Levy was avail- 
able to assist them in the new 
medium at such a serious and ex- 
perimental time. 

Humility and Patience 

He had, despite his reputation 
and great experience, a humility 
and patience both of which greatly 
encouraged those with whom he 
worked. Sound Engineers and 
Editors, particularly, found in him 

a sympathetic, co-operative and 
loyal colleague with a quiet enthu- 
siasm for obtaining the best pos- 
sible results in happy conjunction 
with all departments. 

At that time the problems of 
acoustic treatment, direct music 
recording on the set (in the 
absence of advanced dubbing tech- 
niques), etc. were many and diffi- 
cult. It can be truly said that his 
contributions to the technical im- 
provements were great and never 
at the expense of the other fellow. 

Annual Film Ball 

On the social side his musical 
organising for the Annual Film 
Ball held at the Albert Hall every 
year during the 30's was stupen- 
dous. To see — and hear — the com- 
bined bands of the Brigade of 
Guards together with the two 
orchestras regularly employed 
under his direction which took the 
floor at midnight was awe-inspir- 
ing even to film folk who flocked 
to this occasion every year before 
the war. 

Radio Shop Window 

At this time too he induced the 
B.B.C. to take an active interest 
in film music so that for years his 
" Music from the Movies " main- 
tained a radio shop-window for 

Of recent years he had con- 
tended cheerfully with ill-health, 
but despite this, to the end he 
maintained his high reputation as 
Musical Director to Associated 
British Picture Corporation. The 
industry is poorer by the passing 
of this " great little man ". We 
all owe much to so helpful a 


known as Jock, moved into the 
Laboratories from the Studios on 
17th October, 1936. He remembers 
the trials, tribulations and teeth- 
ing troubles of those early days. 

Served Apprenticeship 

Jock has been a Trade Union 
member for forty-five years, having 
joined the A.S.W. in 1912, a crafts- 
man of the old school, very proud 
of having served his full five years' 

apprenticeship. He has been a 
martyr to sciatica for the past two 
years, during which time he has 
been attending hospital twice a 
week in the hope of affecting a 
cure. Added to this, Jock has now 
developed a heart condition, and 
has had to retire almost at the age 
of sixty-five; to quote his own 
words, "Five years before I wanted 
to". Never mind Jock, we all wish 

(Continued on page 155) 



November 1957 


Extracts from the General Secretary's Report 

THIS year's Labour Party Con- 
ference has led to even more 
post-mortems than usually follow 
the Party political event of the 
year. That is due partly to docu- 
ments being presented to the Con- 
ference by the National Executive 
Committee which, in searching for 
unanimity, lacked clarity, partly 
because Labour's shadow Foreign 
Secretary, Aneurin Bevan, found 
himself at issue with the 'Bevanite' 
line on the H Bomb, and partly 
because, through Bevan no longer 
being a " Bevanite ", the strong 
" rebel " element in many con- 
stituency Parties lost their inspira- 
tion and idol for whom they have 
no adequate replacement. 

Yet, paradoxically, far from the 
Conference breaking up in a 
shambles, it maintained a unity of 
purpose, with minorities accepting 
majority decision, which is all- 
important if victory is to be won 
at the next General Election, as 
Labour is determined it shall be. 

There were three main debates : 
on National Superannuation, on 
Public Ownership, and on Foreign 
Affairs, including Disarmament. 

National Superannuation 

Until recently most of the 
Labour Movement, including the 
Trades Union Congress, have been 
opposed to State pensions being 
based on an individual's earnings. 
The policy document " National 
Superannuation " approved by the 
Conference shows how new think- 
ing with investigation and re- 
examination of a difficult problem 
can lead to a different and accept- 
able policy. 

No one will quarrel with that 
part of the proposals which will 
lead to a Labour Government rais- 
ing the basic old-age pension to £3 
a week and it, subsequently, keep- 
ing pace with any rise in the cost 
of living. Contention was on the 
proposals for eventual half-pay 
retirement for all on a contribu- 
tory scheme basis with the invest- 
ment of the scheme's funds in com- 
mercial firms, which, it was 
claimed, was essential to make 
such a plan work, as did existing 
private schemes. 

Some critics wanted the entire 
scheme financed out of taxation, 

but Ft. H. S. Crossman, who intro- 
duced the scheme for the Execu- 
tive, not only drew attention to the 
increase in taxation that this 
might involve but also argued that 
the insurance principle was a vital 
safeguard, for without it govern- 
ments could cut pensions in times 
of stress. 

Points not Pressed 

Mr. Crossman also argued that 
so long as the trade unions and the 
community generally accepted dif- 
ferent wage levels, so unequal pen- 
sions should be accepted. He also 
pointed to the trade unions in 
answering criticisms that the In- 
surance Fund should be able to 
invest in private industry, saying 
some unions had done so with 

None of the critics pressed their 
points after a very able reply to 
the discussion by Dick Crossman; 
the critical resolutions were with- 
drawn and the document itself 

Public Ownership 

The second main debate resulted 
in the adoption, by a five to one 
majority, of 'Industry and Society', 
the Executive Committee's policy 
document on future public owner- 
ship. It was in many ways a re- 
markable debate, with delegates 
such as Herbert Morrison and 
Emmanuel Shinwell leading the 
rebels from the floor — a 30-40 year 
flashback, probably. Criticism was 
on two main grounds. Firstly, it 
was not clear what the Executive's 
intentions were, and it was clear, 
even if unsatisfactory, that a num- 
ber of critical delegates only with- 
drew their opposition on the 
strength of what the platform 
spokesmen interpreted the docu- 
ment as meaning. Indeed, Harold 
Wilson told us we should have been 
at the Press conference when the 
document was published, then all 
would have been well! 

The second main ground of criti- 
cism was that, even after the ex- 
planations and interpretations, it 
was completely unsatisfactory, 
both on the grounds of principle 
and practicalities, to interpret 
Labour's policy of public owner- 

ship and control by purchasing 
shares without necessarily obtain- 
ing control, in a number of the 
country's key privately owned 

The critics lost by 5} million to 
li million on the reference back 
and by 6 million to 600,000 on the 
amendment. The document was 
then approved by 5.309,000 to 

Foreign Affairs 

On Foreign Affairs there was no 
division in the Conference and a 
resolution was passed setting forth 
a stated list of objectives includ- 
ing the peaceful reunification of 
Germany; reduction in armaments; 
extension of international trade; 
establishment of a permanent 
United Nations police force; the 
admission of China to the Security 
Council; and general discussion 
with the leaders of the U.S.S.R.. 
China and Peoples' Democracies. 


There were three composite 
motions on disarmament : two in 
general terms and the third calling 
for unilateral renunciation by 
Great Britain of the testing or 
manufacture of nuclear weapons. 
The other resolutions proposed the 
immediate suspension by Britain of 
the H Bomb tests, but they sought 
the support of all nations through 
the United Nations for an actual 
ban on production, destruction of 
existing stocks and progressive 

It was the difference between 
Great Britain taking the initiative 
in stopping production or, on the 
other hand, only moving by inter- 
national agreement with other 
countries, that led to Aneurin 
Bevan's unpopularity with his erst- 
while supporters. They wanted Bri- 
tain to act unilaterally. Bevan did 

There was contradiction in argu- 
ment by Bevan as much as any- 
body else. He made the obvious 
point : it is no use producing if 
you are not going to test; yet he 
accepted there should be no testing 
but not the cessation of production. 
He argued that if Britain re- 
nounced, unilaterally, the use, test- 
ing and manufacture of nuclear 
weapons, it would be unable to 
influence American or Russian 
policies, and in any case we 
couldn't act alone in these matters, 
having responsibilities to the Com- 

Eventually, Mr. Bevan carried 
Conference "with him by 5,836,000 
to 781,000, and the other two com- 
posite resolutions were carried 

George Elvin. 

November 1957 




A Missed Opportunity 

THE entertainment industry is so 
publicity conscious that I hope 
I may be forgiven for attacking 
the authorities for missing a won- 
derful opportunity of publicising 
Britain to the world. It is a 
shame that Britain, which was the 
first country to issue postage 
stamps, should be so unimagina- 
tive in their design. Other nations 
fanfare their achievements and 
their culture to the rest of the 
globe, while we seldom have more 
than a few simple decorations 
around the Sovereign's head. 

Belgian Film Stamp 

To celebrate a film festival in 
June 1947 Belgium issued a stamp 
with a portrait of Dr. Joseph 
Plateau, the Belgian inventor, who 
in 1831 commercialised the idea of 
moving cartoons by sketching 
drawings on a cylinder; when the 
cylinder revolved, the audience, 
looking through a peephole in 
front, saw the drawings move. In 
1949 the Russians issued a stamp 
to mark the 30th anniversary of 
Soviet moving pictures, and this 
year both France and the Federal 
German Republic have issued 
stamps on the theme of television, 
and you can see reproductions of 
them on this page. 

• 1 ^amO^^^O^^qi- T -o^Tj:--v:^- 1 - L ii. J iTiM>, l - ' 


cjllllf^P"^" 1 " '"^ISo 







x • •••■■« • . 



The rather abstract design of 
the West German one, which was 
issued on August 23rd, although 
not to my personal taste, is simple 
and effective; it was chosen after 
two competitions had been held, 
and is said to suggest the lattice 
of light that appears on the TV 
screen, when the set is switched on 
and off. 

Since the recent rise in postage 
rates (a heavy burden on A.C.T.T., 
incidentally), one might imagine 

that stamps were expensive things 
to print. Actually, stamps of 
Great Britain cost only some 6id. 
per thousand to produce, so why 
couldn't we have had a special set 
last month to celebrate the 21st 
anniversary of Pinewood Studios ? 
Not only would 
this have helped 
in the impor- 
tant work of 
p o p u 1 arising 
British pictures 
abroad, but it 
would also have 
told our own 
citizens of the 
achievements of 

British technicians, craftsmen, 
artistes and producers in one of 
our finest film production centres. 
Further, it would have brought in 
thousands of pounds, dollars, 
francs, roubles, pesetas, forints 
and other currencies from the 
world's stamp collectors. 

Among the British inventors in 
the field of kinematography and 
TV, Britain could issue commem- 
oratives of William Friese-Greene, 
Robert W. Paul, Alexander Parkes, 
John Logie Baird and J. Arthur 
Roebuck Rudge. Incidentally, do 
you know for what these men are 
famous? You should, you know, 
but in case not, I give you thumb- 
nail biographies at the end of this 


In speaking my mind openly in 
print like this it sometimes 
happens that I fearlessly say some- 
thing which frightens the Editor 
so much that he cuts it out! That 
happened last month, but he made 
it up by sending me to meet the 
celebrated Soviet actor, Nikolai 
Cherkassov, who was introduced to 
me by my friend Lindsay Ander- 

Cherkassov is one of the few 
Soviet film stars who is at all 
well known in this country, having 
played such outstanding roles as 
Ivan in Eisenstein's /ran the 
Terrible and Professor Polezhayev 
in Baltic Deputy, and we shall soon 
be seeing him in what promises to 
be his most interesting and exact- 
ing part, Don Quixote. 

In appearance he is a mixture 
of Vic Oliver and R. J. Minney, 



with as much vitality as both of 
them put together. He answered 
our questions with great charm, 
humour — and tremendous know- 
ledge. In reply to a question of 
mine, he made the startling re- 
velation for a famous star that 
he did not like 
appearing in 
close-ups. The 
reason is that 
he finds that 
technique often 
gets in the way 
of an actor's 
self - expression, 
and in what he 
calls " the nar- 
row screen " he feels too confined. 


I found this a refreshing point 
of view, as so many serious 
artistes in the West take a scorn- 
ful attitude towards wide screen. 
For Nikolai Cherkassov the wider 
field gives more scope — but maybe 
this is because his main work is 
on the stage (at the famous 
Pushkin Theatre in Leningrad). 
I liked, too, his open admission of 
the faults in Soviet pictures — 
" heaviness is perhaps one of our 
national shortcomings," he replied 
to a questioner who wanted to 
know if any Soviet productions 
were being specially tailored to 
Western tastes. No, he continued, 
Soviet films were made first and 
foremost for their own people. I 
wish we could say the same about 
our pictures — they would be far 
more true-to-life, if they were. 

Now for the answers to my 
general knowledge test: 

William Friese-Greene (1855- 
1921). His patent of June 21st, 
1889, is the first in the world to 
give full particulars for both 
taking and showing moving 
pictures by photographic means. 
He made a camera, which took 
about ten pictures a second on 
celluloid strip, he printed this film 
and showed it on a screen, the 
intermittent pictures merging to 
give the impression of movement. 

Robert W. Paul (1869-1943) was 
primarily a scientific instrument 
maker, and became one of the first 

(Continued on page 158) 



November 1957 

The fortieth anniversary of the Soviet Film Industry will be marked 
in November by a season of 


RATHER than dwell on the 
Soviet pictures of the past — 
the classics of Eisenstein, Pudov- 
kin, Dovzhenko and others — I 
should like to mark the fortieth 
anniversary of the Soviet film in- 
dustry by giving a preview of some 
of the new films coming from their 
studios, especially those soon to be 
seen at the Season of Soviet Films 
in London this November. Perhaps 
in this way you will see the youth- 
ful freshness and spirit of an in- 
dustry that is expecting to expand 
from eighty-five first features last 
year to some hundred this. 

Development of New Directors 

One of the most successful inno- 
vations of recent years has been 
the development of a new genera- 
tion of Soviet directors and artists 
by the already established ones, 
each of whom has taken one or 
more under his wing. The new 
graduates have come mainly from 
the Institute of Cinematography, 
in Moscow, and are generally in 
their early thirties. One of the 
best examples of the new school is 
Grigori Chukhrai's The Forty 
First, which opens the London 
Season at the Palace Theatre on 
November 3; since the Cannes 
film festival earlier this year, 
where it won a special prize, The 
Forty First has received more 
favourable comment in the Western 
World than any other Soviet pic- 
ture, not excluding The Battleship 

Yosif Hcifitz, who has made many 
t.rue-to-life and deeply moving 
human pictures. Sasha Rumyant- 
sev is a young lorry driver who 
finds himself the innocent victim 
of a gang of crooks. One might 

This story of a 
sniper in the Civil 
who falls in love 
Guard prisoner, is 
Potemkin, although 
elements to make it 
lar and acceptable 
films among British 

young woman 
War of 1919, 

with a White 

not another 

it has all the 

the most popu- 
of all Soviet 

This film was not just a flash- 
in-the-pan — there is, in fact, a 
stream of pictures on the most 
varied themes now emerging from 
Soviet studios. The days when 
breaking production records on col- 
lective farms formed the basic 
formula for film-makers have gone 
for ever. One of the most popular 
productions among Soviet audien- 
ces last year was The Rumyantst i 
Case (in Sovcolor), directed by 



suppose that The Rumyantsev Case 
was just another thriller — a type 
of film up to now rare in the 
USSR, but all too common here 
and in America. But the film's 
makers have created something 
quite different — a psychological 
drama of great intensity that only 
uses the crime theme to show its 
main characters in action. The 
various attitudes of Sasha's friends 
and workmates to his predicament, 
and in particular the moving scene 
in which his best friend adopts a 
young child from an orphanage, 
stand to make this a modern 
screen classic. 

Too Few Comedies 

Comedies and musicals are still 
far too few, but the colour musical 
comedy Carnival Night, and the 
children's film Old Khnttabych 
(also in colour), will show that the 
Russians have not lost their sense 
of humour. I am sure that British 
audiences will also appreciate the 
satire in Carnival Night, which is 
about how the plans for a New 
Year concert at a factory club are 
nearly wrecked by the man tem- 
porarily in charge with his pom- 
pous counter-plans; he wants to 
"enlarge" the quartet and swap the 
youth jazz band with an orchestra 
of ancient musicians; but (need I 
add?) all turns out well with the 
concert — and with Grisha, the elec- 
trician, who has fallen in love with 
Lena, the pretty young singer and 
dancer. Lena is played by the ver- 
satile and vivacious Liudmilla 
Gurchcnko, who studied at the 

Institute of Cinematography, and 
who in appearance might be called 
a Soviet Pat Roc. 

Youngsters, in particular, will 
love the adventures in Old Khntta- 
bych of the Moscow schoolboy, 
Volka, who discovers an old jar 
while swimming; when he opens it. 
out comes the Jinni, Khottabych, 
who performs incredible miracles 
for him : he plucks a hair from 
his long beard and caravans of 
camels loaded with gold and pre- 
cious stones appear; he can pass 
through a thick wall, and, if he 
likes, can alter the course of a 
football match. In fact, the old 
magician shows his powers in a 
multitude of ways, accidentally 
putting Volka in many a stupid 
and ridiculous situation. 

Rounded People 

Now, in contrast, there is a story 
of romantic-spirited men and 
women who find the extraordinary, 
not in dreams of fantasy, but in 
their daily work. Jolly and un- 
selfish, mischievous and kind- 
hearted, forthright people, who 
love and hate with passion — such 
are the heroes of Great Height, 
produced and directed by A. Zarkhi, 
which won a main prize at the 
Karlovy Vary film festival in 
Czechoslovakia this year. This 
dramatic, human story is about a 
team of men who come to work 
on the assembly of a new blast fur- 
nace. Great Height is one of many 
examples that I could give of how 
Soviet films have got away from a 
rigid "black and white" manner of 
a few years ago; the people in it 
are rounded, life-like persons, not 
just characters representing heroes 
and villains. Soviet audiences have 
a great hunger for such stories 
with contemporary backgrounds — 
ether recent films have dealt with 
such themes as juvenile delin- 
quency, housing problems, living 
with in-laws, black marketeering. 
unmarried mothers, and red tape. 

Many critics at the Edinburgh 
festival last year praised the 
simple and touching Magdana's 
Donkey, when it was awarded a 
Diploma of Merit there. The USSR 
has a number of autonomous film 
production centres spread over all 

November 1957 



Above: "The Forty-First", which won a special prize at Cannes, 
opens the London season. Below: " Magdana's Donkey " 

Russian film-makers have dis- 
covered that new techniques alone 
do not produce good productions, 
and there has been a return to the 
normal size black-and-white pic- 
ture, where the nature of the sub- 
ject demands it. 

In conclusion I must mention a 
technique that is also common to 
both our countries, because it 
greatly increases our ability to 
understand and appreciate each 
other's films — foreign language 
dubbing. The showing of the Soviet 
film Othello at the Royal Festival 
Hall this summer marked the first 
public performance of a Soviet film 
dubbed into English since the war. 

The clubbing of Othello, which 
has been brilliantly done by the 
De Lane Lea process in Britain, is 
the first of a series which includes 
Twelfth N^ght, Skanderbeg, Carni- 
val Night, The Forty First and 
Don Quixote. Dubbing of this 
calibre greatly increases the audi- 
ences for such films in a way that 
sub-titles could never do. The fact 
that British technicians and artists 
have had considerable employment 
in this work has been a further 
welcome way of celebrating the 
anniversary of a film industry 
that is forty years young this 

the Republics, and this one comes 
from the Georgian studios. It is a 
local story from the last century of 
a poor peasant widow and her 
three children, who find a sick 
donkey on the road, and nurse it 
back to health. Incidentally, the 
independence of the local studios is 
an important feature in the new 
policy of decentralisation which 
has recently been adopted in the 
USSR. The job of the film depart- 
ment of the Ministry of Culture is 
to co-ordinate the production of the 
many studios without interfering 
with the artistic side, which is left 
entirely to the producers, directors, 
stars and technicians. 

Finally, a film from the popular 
treasury of Russian classics, The 
Grasshopper, which is based on a 
short story by Anton Chekhov. For 
many Londoners this will be a most 
welcome return of a colour picture 
that ran for a most successful 
season at the Everyman, Hamp- 
stead, nearly a year ago. 

I have left to last the technical 
advances of Soviet film production 
— perhaps readers of film and tv 
technician will be the best judges 
of that, anyway. I should mention, 
however, that new techniques have 
come to the fore, including Sov- 
scope (an equivalent of Cinema- 
Scope), stereophonic sound, and 
panorama (similar to Cinerama). 
But like their British colleagues, 



November 1957 

Organisers' Page 


IT is always gratifying to watch 
any increase in membership of a 
Trade Union, and it is therefore 
most interesting to note the steady 
strides which A.C.T.T. is making. 
Since the beginning of the year 
approximately 1,000 applications 
for membership have come in. 
Naturally quite a considerable 
number, but by no means all, have 
come from the Television Studios, 
thanks to the efforts of Paddy 
Leech and his colleagues in Tele- 
vision. The flow of applications 
also indicates that the film studios 
are much more busy than is usual 
at this time of the year. The pro- 
gramme already envisaged by 
many studios suggests that there 
will be far fewer A.C.T.T. mem- 
bers not working than is usual at 
this season. 


I understand that at last a start 
has been made on the roofs of the 
stages at Shepperton and this 
again, although it will probably be 
a long job, will have the effect of 
giving more studio space and 
therefore more work for our mem- 

This is all to the good, as the 
most important thing in any Trade 
Union Organisation is a strong 
membership. With membership, 
however, there are of course res- 
ponsibilities, and it is regretted 
that at times there are not suffi- 
cient members at a section com- 
mittee or full meeting for points 
of vital interest to be discussed. 
One evening a month, or perhaps 
even not so often, is not a great 
deal of time to give to problems 
which are of paramount interest to 
your conditions and interests. 

New Studio in Eire 

We have received some interest- 
ing information of a new studio 
which is being opened in Eire, near 
Dublin. From what we have 
heard it seems that there is a 
possibility of quite a good-sized 
studio eventually emerging. What 
effect this may have on our mem- 
bership it is as yet too early to say, 
but it would appear that there will 
be a call for a number of techni- 

The Irish press, reporting on a 
press conference held by the pro- 

moters, stated that already there 
had been applications from techni- 
cians at present working in this 
country. Head Office are watching 
the developments with interest and 
if any member has any useful in- 
formation to pass to us we should 
be pleased to receive it. 



Earlier this year, as was re- 
ported in the August FILM & TV 
technician, a Conference was held, 
which Sidney Cole and I attended, 
to attempt to bring Paul Robeson 
to this country to sing and act. 
The slogan at this Conference was 
" Let Paul Robeson Sing ", and it 
was sponsored by a very large 
number of well-known people in 
the fields of art and culture, to- 
gether with many prominent politi- 
cal and Trade Union leaders. As a 
result of the initiative of George 
Elvin and others a meeting has 
been held of representatives of 
unions within the entertainment 
industry. The one object of this 
committee is to attempt to bring 
still further pressure on the 
authorities in the United States to 
enable Robeson to visit this 
country, where it is certain that a 
great welcome awaits him. 

A Chance 

According to a message which 
Robeson delivered by Trans-Atlan- 
tic telephone when he spoke and 
sang to the Eistedffod organised by 
the South Wales miners he has 
now received permission to travel 
to any point in the Americas; it is 
assumed that this means that at 
last there is a possibility of Robe- 
son being allowed again to visit 
other countries. I am sure that if 
we as an Association can assist in 
common with the other unions in 
entertainment to do anything in 
this direction it will be appre- 
ciated not only by A.C.T.T. mem- 
bers but by many, many other 
Trade Unionists throughout this 
country. Sir Tom O'Brien, on be- 
half of N.A.T.K.E., has promised 

his help, and the Musicians' Union, 
British Actors' Equity and the 
Electrical Trades Union also 
attended the initial meeting. 

Charles Bishop, former Secre- 
tary of the Art Section, has made 
unavailing efforts again to launch 
the Art Department Year Book. It 
is to be regretted that there was 
not sufficient response for the pro- 
ject to go forward. All members 
who had paid for the proposed 
book were circularised asking their 
wishes in the matter. The result 
was that the very large majority 
agreed that any outstanding 
monies should be used for some 
charitable object. At the last meet- 
ing of the section £13 5s. Od. was 
handed to the A.C.T.T. Benevolent 
Fund. Hearty thanks are due to 
Mr. Bishop for his efforts in this 
connection and to the members for 
this welcome contribution to the 
Benevolent Fund. 

Subs, in Arrears 

We spent quite a lot of time at 
Head Office trying to trace the 
comparatively few members who 
are in arrears; it is true to say 
that they are not many but it is 
all extra work. On occasions we 
get in unit lists and find names of 
members who have paid no sub- 
scriptions for some time. I would 
remind members that annual sub- 
scriptions are payable in advance 
and that it is the responsibility of 
the member to see that his subs 
are paid. On a recent location of 
about twenty members no less 
than half were found to be in 
arrears. In no case was it due to 
anything more than forgetfulness, 
but it does cause extra work. 

The work of A.C.T.T. has to go 
on and if the majority of members 
were as slack as the minority it 
would possibly create a serious 
position financially. 

Flash from recent location meet- 
ing. A discussion had been held on 
the type of generator to be used on 
the job. An A.C.T.T. member gave 
his forceful but impolite opinion on 
the type of generator. N.A.T.K.E. 
also said a few words from the 
angle of having to man-handle the 
thing into position. Comment from 
the E.T.u. representative : " it is a 
very good generator, the only thing 
about it is, it keeps going wrong." 

November 1957 



Lab Topics 


you well and know that your Car- 
penters' Shop will never be the 
same again — especially when Jim, 
Joe and the others have a tidy up 
in there. May you enjoy many 
years of odd jobbing in your re- 

Pop Wingrave came to the Lab- 
oratories as a Still Man. He had 
worked at stills with a firm in 
Watford since he was fourteen and 
was naturally disappointed when 
he was put in to the Viewing De- 
partment by Gare Schwartz where, 
together with Bill Collo, he was 
made responsible for 1st prints and 
West End Show Copies. Neverthe- 
less, he carried on with this until 
1942, when he was given charge 
of the Circulation Department 
(mixing solutions, etc. for the 
Developing Units). 

Pop was (and still is) a very 
placid man, only getting upset if 
told to dismiss any of his men — 
this he never did and the three 
dozen or so trainees who passed 
through his hands feel that they 
owe him a debt which they can 
never repay. 

National Savings 

From 1942 Pop took over the 
National Savings Campaign and in 
the same year pushed savings up 
to £1,000 per year. He continued 
to run the savings group — ever 
increasing the takings — but had to 
disband it at the time of the lock- 

Pop remained in sole charge of 
his department until 1950 when, 
with the expansion of the Labora- 
tories and the introduction of 
colour, the management engaged a 
qualified Chemist. This, of course, 
meant more work for Pop, which 
he undertook with his usual cheer- 
fulness and loyalty, for among his 
qualities his loyalty was unques- 

He served on the A.C.T.T. Com- 
mittee for four years and managed 
to remain loyal both to the Union 
and the Management. 

For the record Pop is 74 years 
" young ", and his advice for keep- 
ing young is as follows : A happy 
family life — no secrets from the 
wife — the love of children and, 
when the grandchildren come 
along just keep up with the 
youngest. Pop tells us that he en- 
joyed good health throughout his 
working life, but some years ago 
had a fairly serious illness. He 

feels eternally grateful to the 
Management for the nice way they 
treated him when on his return he 
was told that he could come and go 
as he wished, and " don't worry 
about your 44 hours ". But such is 
Pop's nature that he has never 
abused this concession. He likes 
work as a means of keeping his 
mind occupied and would, in fact, 
still be at the Laboratories had it 
not been that his wife's health 
has forced him to retire. 

My personal tribute to Pop Win- 
grave (in which I am sure all the 
boys and girls at Rank Labora- 
tories will join) is to say how much 
he will be missed from the daily 
scene. He was friendly with every- 
body, young and old, always ready 
to help others and always doing 
something for somebody; in fact, 
a man who knew the meaning of 
Christian Charity — a fine "young" 
Christian Gentleman. 


Stan Warbey writes: I am glad 
to report that most of the members 
at Pathe, Elstree who contracted 
Asian 'flu have now recovered; 
which is just as well because the 
staff were sadly depleted during 
the epidemic. 

We have also had a bout of the 
" love bug ", because three mem- 
bers were married within four 
weeks : Sheila Marsh, now Mrs. 
Coughlan; Eileen Murdock, now 
Mrs. Poyner, and Gordon Beavis, 
each of whom were presented with 
a wedding present from their fel- 
low members, the presentation 
being made by Mr. Ash, the Super- 

With the summer holiday period 
over our thoughts, naturally, have 
turned to Christmas, and provi- 
sional arrangements are already in 
hand for a staff Christmas dinner 
party, for which there is already 
very good support. In the past we 
have had a running buffet but this 
year members have started collec- 
tions early in order that we may 
have a dinner instead, as this 
seems to be the popular choice. 

I had a phone call from an ex- 
A.C.T.T. member, Brian Francis, 
to tell me he is now the proud 
father of a baby boy — David, and 
also that he is hoping to visit his 
old friends at the Lab soon. Con- 
gratulations Brian. 

Fred Cull reports from Pathe, 
Wardour Street, that Margaret 
Shoebridge, who joined Pathe Labs 
(Wardour Street) from Kays, Soho 
Square, as optical assembler, will 
be working with Mick St. John, 
also formerly of Kays, who is now 
Rostrum Cameraman at Pathe 

Labs. Basil Smith, also formerly of 
Kays, is now a Printer at Pathe. 

His colleagues offer their best 
wishes to Alan Soanes who leaves 
Pathe Labs after eight years to 
take up a job as Assistant Editor 
at Shepperton Studios. Alan 
worked in Printing and afterwards 
in the negative room. 

Shorts & Documentary 


Our Section half-yearly general 
meeting took place in the Crown 
Theatre, Wardour Street, on Wed- 
nesday, 2nd October. The meeting 
was very well attended, in fact we 
had a full house as far as seating 
capacity was concerned. 

The business was mainly a re- 
port of the Committee's activities 
during the previous six months, 
and there was very little discus- 

Item three on the agenda 
brought a new member on to the 
Committee, namely Roy Pace of 
TV Cartoons. The vacancy was 
brought about by the resignation 
of Ralph Bond, who had been 
advised to cut down on evening 
activities as he has been overdoing 
it and has got to take it easy for 
a little while. 

The usual practice in such cases 
is to take the next on the list of 
nominations, taken at the A.G.M. 
This happened to be Walter 
Lassally, but he, when invited to 
serve on the Committee, had to 
refuse the offer as he may be out 
of the country on location for some 
considerable time. 

The meeting also marked the 
start of our new series of film 
shows, the " follow-up " of those 
very successful ones we had last 

The films shown were The World 
of Little Ig, a cartoon made by 
Halas and Batchelor, and High 
Speed Flight, Part 1: Approaching 
the Speed of Sound, made by the 
Shell Film Unit and directed by 
Peter de Normanville. Both films 
won first prizes at the Venice Film 

The World of Little Ig dealt with 
a little character named Ig and 
his escapades when his mother 

(Continued on page 158) 



November 1957 

General Council in Session 


Arising out of the two Con- 
ferences on new entrants to the 
Union, the Executive Committee 
had recommended that: 

1. When the General Council 
appoints a Committee to re- 
examine any changes in Rule 
which may be required, the 
question of the desirability 
or otherwise of Probationary 
Membership in Television 
should be examined. 

2. The following should form 
the New Entrants Com- 
mittee, which should take the 
report of the recall Con- 
ference as its brief and work 
along similar lines to the 
previous New Entrants Com- 
mittee: Fred Swann, Eric 
Pask, Lindsay Anderson, Alf 
Cooper, Bill Whittemore, 
Ken Gordon, Tony Shine and 
Charles Wheeler. 

The Committee should report to 
the Executive how, in their 
opinion, all the various Rules re- 
lating to membership should 

3. Head Office should work out 
a scheme for dealing with 
the administrative problem 
of sending out 8,000 new 
membership cards at the end 
of the year. 

4. The General Secretary should 
discuss with the staff the 
possibility of arranging a 
rota system for a period of 
at least six weeks, under 
which one member of the 
staff be available from 8.30 
a.m. on Monday mornings to 
deal with urgent employment 

These proposals were endorsed, 
and it was reported that the staff 
had agreed to point 4, which was 
now in operation. Other recom- 
mendations of the Executive with 
regard to individual applications 
for membership were discussed at 
length by the Council, and while 
a number of them were endorsed, 
others were referred back due to 
representations of two of the de- 
partmental sections. 

TIONS: The Criterion, Piccadilly 
Circus, has been booked for Fri- 
day, February 7th. The function 
could continue into the early hours 

of Saturday morning. The Finance 
and General Purposes Committee 
recommended that the charge 
should be 10/- per head so that 
all members desiring to do so 
could attend. This would mean 
part of the cost would be borne 
out of Union funds. The General 
Council endorsed these proposals 
and it was agreed to make tickets 
available to unemployed members 
at half price. 


TRADE UNIONS: It was reported 
that the Technicolor and Kodak 
shops had accepted invitations to 
send observers with speaking 
rights to the forthcoming Con- 
gress of the World Federation of 
Trade Unions. The General Secre- 
tary expressed the view that, 
while he was sure the Union, as 
always, would want to protect the 
personal freedom of individual 
members, it would only make for 
difficulty, in view of the well- 
known policy of the other inter- 
national trade union federation, 
the I.C.F.T.U., to which the T.U.C. 
was affiliated, if any representa- 
tives went officially from A.C.T.T., 
either nationally or locally, as was 
clear from statements made to 
other affiliated trade unions in the 
past by the T.U.C. General 
Council. This was endorsed by 
the Council. 

for inserting the grades Vista- 
Vision and Optical Colour Printer 
in the Laboratory Technical and 
General Grades Agreement was 
submitted to the F.L.A. at a joint 
meeting. We argued that the 
work performed by these grades 
justified a minimum basic rate of 
£13 9s. 4d. in the case of Optical 
Colour Printers and £10 16s. 4d. in 
the case of the VistaVision 
printers. The F.L.A. were unable 
to accept our arguments and in- 
vited us to visit Technicolor and 
the Rank Laboratories (Denham) 
to examine the work. A further 
joint meeting could then be held if 
A.C.T.T. so desired. The Labora- 
tory Negotiating Committee de- 
cided to take advantage of the in- 
vitation and arrangements are 
being made for the visits. 

STREET: Following on Bessie 
Bond's report of last month, a 
further meeting with the Manage- 
ment was held and, after quite 
tough negotiation, a very satis- 
factory letter has been received 
signed by both the Director and 
Secretary of the Company. 
Although the dispute was with the 
Cartoon unit only, the company 
undertake to have discussions with 
A.C.T.T. before dismissals are 
effected by all their companies 
within the group. Our members 
are delighted with the outcome, 
and the Organiser wrote thanking 
them for the stand they took 
which made this victory possible. 
Shop Stewards and deputies are 
now functioning at all the units 
within the group. This issue has 
helped build up the morale of the 


General Secretary reported that 
he had seen the management and 
it appeared to him that the main 
interest in processing in Great 
Britain was to get British quota 
for television. No A.C.T.T. mem- 
bers were employed on the produc- 
tion and one of those associated 
with it was an individual whom 
the General Council had instructed 
A.C.T.T. members not to work 
with. He had therefore told the 
management that we would 
oppose their activities, unless they 
complied fully with our agree- 
ments and with the understand- 
ing reached with the I.T.A. in re- 
lation to the employment of 
United Kingdom personnel on such 
films. The company then 

threatened to take the processing 
back to the United States. The 
General Secretary recommended 
that no attempt should be made 
to accommodate the company and 
the Council endorsed this. 


COUNCIL: The appointment of 
members of the Cinematograph 
Films Council expired on Septem- 
ber 30th, and the General Secre- 
tary has been invited by the Pre- 
sident of the Board of" Trade to 
continue to serve as one of the 
representatives of the employees 
for a further three years. 

November 1957 




agreed to nominate the following 
as delegates to this Conference 
due to be held on Saturday and 
Sunday, March 1st and 2nd, 1958: 
Fred Tonge, Len Runkel, George 
Irons, Dudley Birch, Ken Gordon. 

CIATION: An invitation had been 
received to send delegates to a 
Public Meeting in connection with 
the testing of Hydrogen Bombs 
called by this Association, and 
Bernie Lewis and John George 
were appointed delegates. 


The General Secretary reported on 
a meeting of the N.F.P.W. Execu- 
tive Committee at which the appli- 
cation for affiliation from the 
Association of Broadcasting Staffs 
had been considered. He and Alf 
Cooper had attended and had very 
forcibly put the case why the 
A.B.S. should not be accepted into 
membership. In addition to the 
support already obtained from 
N.A.T.K.E., they also received ex- 

cellent support from other Union 
officials, particularly the Guild of 
Insurance Officials, A.S.S.E.T. and 
the Institute of Professional Civil 

A resolution was moved pro- 
posing to defer a decision for a 
month pending consultation by the 
officers with the Unions directly 
concerned. The General Secretary 
moved an amendment to reject 
the application and inform the 
A.B.S. that it would be recon- 
sidered as and when they had 
straightened out their differences 
with affiliated unions. The amend- 
ment was carried by 12 votes to 11 
and carried as a substantive 
motion by 13 votes to 6. The 
Executive congratulated the dele- 
gates on the manner in which they 
had handled the situation. 

PALACE: Bessie Bond attended a 
meeting of our members at this 
unit, as they expressed the wish to 
set up their own organisation. A 
Shop Steward was elected 
(Michael Roberts), a small com- 
mittee representing engineering 
and production was set up and a 
collector was appointed. 

WOOD: Reports were given by 
Organiser Fred Tonge and the 
Pinewood Shop Steward regarding 
arrangements made with the 
Management at Pinewood and the 
attitude of members. After dis- 
cussion, it was agreed that any 
further night work shall be done 
strictly in accordance with the 
B.F.P.A. Agreement. 


The General Secretary reported a 
meeting of the Committee arising 
out of N.A.T.K.E.'s claim to 
organise certain of the grades in- 
cluded in the new Television 
Agreement. N.A.T.K.E. had now 
withdrawn their claim to some of 
the grades and on others they 
recognised that our claim was ten- 
able. However, the grade of Tele- 
cine Operators was still in dis- 
pute. The Inter-Union Committee 
agreed that both N.A.T.K.E. and 
A.C.T.T. should prepare written 
statements outlining their reasons 
for claiming the grade for sub- 
mission to the E.T.U., who were 
responsible for convening Inter- 
Union Committee meetings, and 
there would be a further meeting. 
A.C.T.T. 's claim had been pre- 
pared and submitted. 

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November 1957 



well-known British producers, 
though his film career was fairly 
short. Paul was the first to bring 
kinematography into the commer- 
cial field, his show at Olympia in 
March 1896 being the first given 
by an Englishman at which ad- 
mission was charged. 

Alexander Parkes, of Birming- 
ham, invented celluloid in 1854. 
Later, the Rev. Hannibal Goodwin 
patented celluloid film in ribbon 

John Logie Baird pioneered tele- 
vision in Britain; the first demon- 
stration of televising moving 
pictures, which showed detail 
(rather than being just .'il- 
houettes), was given by Baird on 
January 27th, 1926, in a room in 
Frith Street (now occupied by 
Bianchi's restaurant). 

John Arthur Roebuck Rudge 

worked with Friese-Greene in Bath 
and about 1866 made a magic 
lantern, which he called the Bio- 
phantoscope, with seven glass 
slides, each showing one stage in 
a movement; although this revolv- 
ing " lantern of life " did not 
actually make moving pictures, it 
was one of their forerunners, and 
helped Friese-Greene in his work. 

On Location 

Camera Crew and Continuity working on A.B.I'.C.'s 
summit of the Jungfrau. Lighting cameraman 

• High Hell ' 
is Jimmy W 

near the 

Shorts & Documentary 


needs his assistance to get her a 
pail of water. 

High Speed Flight was intro- 
duced by Peter de Normanvillc, 
who explained how and why the 
film, which is for specialised audi- 
ences, such as flying personnel, 
came to be made. 

The film was an excellent one, 
in Eastmancolor. Direction and 
photography were very good. But, 
like many in the audience, 1 am 
afraid it was much too technical 
in " aeronautical parlance " for me 
to understand its full significance. 
There was very little in the way 
of discussion, except for a few 
points on camera work. 


1957 ARRIFLEX Model 2A with 
Cooke Series 2 lenses. Available 
as mute camera or with full BLIMP 

NEWMAN-SINCLAIR mirror shut- 
ter and model G cameras. Cooke 
electric motor drive — as required. 

18 mm. COOKE extra wide angle 
lens with full range of Wratten 
filters. For Arriflex, Camiflex and 
Newman-Sinclair cameras. 



FINchley I 59S 


JACK DAVIES, popular Boom 
Operator at Shepperton Studios, 
recently became the father of a 
bonny 81b. 13oz. baby daughter. 
Our congratulations to Mr. and 
Mrs. Davies and best wishes for 
their daughter's future. 





and Brooches 

can be 


from Head 


Price : 

Badges, 2/-, 

Brooches, 2/4 

(post free). 

November 1957 



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Well over MOO copies 
and still spotless* 

Apply for free technical brochure 


Telephone: HUNter 0408-9 



November 1957 

interviews E R W I N I L L I E R 

Director of Photography CHASE A CROOKED SHADOW 


Strong stuff, this, Mr. Hillier. 

Yes indeed. And my job ivas to capture the 

dramatic mood of the story in 

black-and- wh ite photography. 

That's where I found tin tone 

range of II ford FP3 so 


So you're enthusiastic about FP3 ? 

/ am - Ilford FP3 is a gnat 
step forward. Wliat specially 
impressed >n< was the improved 
definition - which is absolutely 

vital for wide screen presentation. 
Ill certainly be using FP3 again 




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December 1957 



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December 1957 





rpHE' Government, it is now be- 
-^ coming increasingly clear, is 
hell-bent for war on the Trade 

Recent facts speak for them- 
selves and their meaning should be 
clearly grasped by every trade 
unionist in the country, whatever 
his personal political outlook may 
be. Take the question of the 
Health Employees, for instance. 
Representatives of both sides on 
the Whitley Council agreed on an 
increase of 3% for those below a 
certain salary. The Minister of 
Health, presumably with the full 
backing of his colleagues in the 
Government, refused to operate 
this properly negotiated decision. 
By this action alone the Govern- 
ment has thrown, and deliberately 
thrown, the largest size spanner in 
the whole national machinery of 
negotiation. Without a declaration 
of war it has perpetrated an act 
of war. 

But that is not all. The Chancel- 
lor of the Exchequer, speaking in 
the recent economic debate in the 
House of Commons, had this to 
say : 

" Wages increases unrelated to, 
and going far beyond, the general 
growth of real wealth within the 
country are by far the greatest 
danger we have to face, and we 
should be deceiving ourselves if 
we pretended otherwise. Those who 
ask for wage increases, those who 
grant wage increases, and those 
who adjudicate about wages should 
have this fact firmly in the fore- 
front of their minds." 

What the Government, through 
the Chancellor of the Exchequer, is 
in fact saying, is this : " If you are 
a wage earner do not ask for any 
more money. If you insist on ask- 
ing, we shall do everything in our 
power to see that your employer 
does not give it to you, even though 
he may recognise the justice of 
your claim and be willing to in- 
crease your pay. Of course, you 
are perfectly free to take the 
matter to arbitration. Do so, by all 
means. We shall warn the arbi- 
trators to find against you, and if 
they ignore our warning we shall 
refuse to implement their findings 
and we shall do everything possible 

to see that 'independent' employers 
do the same." 

The Government was not slow to 
implement this attitude in the case 
of the railwaymen. 

Clearly, in the light of all this, it 
would be a pathetically trusting 
trade unionist who could go before 
any arbitration tribunal on a ques- 
tion of wages with any confidence 
in receiving an impartial finding. 



The Annual General Meeting 

will be held on Saturday, 

March 8th and Sunday, 

March 9th, 1958, at the* 

T.U.C. Memorial Buildings, 

23-28 Great Russell Street, 

London, W.C.2 


All resolutions and nomina- 
tions must be received at 
Head Office 

Tribunals in the past, though 
they have perhaps not been en- 
tirely free from prejudice on all 
occasions, have at least served as 
reasonably impartial bodies, and in 
doing so they have been a valuable 
element in preventing unnecessary 
industrial warfare. That they can 
no longer perform this service is a 
matter of the Government's seek- 
ing. It seems that they would 
prefer open war to peaceful nego- 
tiation. Trade Unionists every- 
where will note the Government's 

The war against higher wages 
and the spanner in the machinery 
of negotiation are two aspects of 
a policy that is bound to have very 
grave consequences. But this is 
not all. The Chancellor of the Ex- 
chequer attacked " wage increases 
going far beyond the general 
growth of real wealth ". This gen- 
eral growth of real wealth, on 
which the well-being of the country 
as a whole depends, demands the 
maximum of productivity together 

with full employment, yet the 
Government has instituted financial 
policies which by discouraging in- 
vestment are bound to curb rather 
than foster the expansion of in- 
dustry, and to lead to unemploy- 
ment rather than full employment. 

As the T.U.C. Economic Com- 
mittee has pointed out, the Govern- 
ment's financial measures have led 
to a position in which the right to 
work is no longer acknowledged as 
a social and economic priority. 

The results of such a policy may 
bring disaster, and, of course, there 
will be an attempt to pass the 
blame to the Unions if and when 
it comes. 

What we have written above 
applies to the industrial field as a 
whole, but members of A.C.T.T. 
will not have forgotten that we 
ourselves have some claims pend- 
ing on behalf of our members. 
There will, for instance, be a claim 
going shortly to the Laboratory 
employers, and we have no inten- 
tion of being put off with a refusal 
based on the Chancellor of the 
Exchequer's statement which we 
quoted above. 

Then, again, there are to be 
approaches to the A.S.F.P. for a 
consolidation of the cost of living 

We feel it necessary to make one 
thing crystal clear. While the cost 
of living continues to rise there 
will be wage claims from various 
sections of the industry, but we do 
not accept the cost of living and 
productivity as the sole determin- 
ants of wages. As long as the 
employers are entitled to operate 
for their own profit workers in the 
industry are equally entitled to a 
fair and reasonable share of the 



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2 Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 

5 and 6 Red Lion Sq., W.C.I 

Telephone: HOLborn 4972 



December 1957 


THE first shots are being fired on the future of television. It is soon 
* enough, but not too soon, for the B.B.C. Charter expires in 1962 and 
the Charter of the I.T.A. in 1964. That sounds a long way off but the 
almost certain Royal Commission, and drafting and debating the legisla- 
tion which have to precede the new patterns will between them occupy a 
considerable amount of time. Organisations directly and keenly con- 
cerned, which of course include A.C.T.T., should therefore soon start 
giving thought to what their policies will be. 

One thing is certain. Policies 
which may have been right at the 
time when the introduction of com- 
mercial television was being de- 
bated are now in many respects 
out of date. The B.B.C.'s monopoly 
has been broken and there will be 
few advocates of its restoration. 
Competitive television in some form 
or another is here to stay. 

Let us consider some recent pro- 
nouncements. First, Gerald Beadle, 
Director of B.B.C. Television 
Broadcasting, speaking at a Radio 
Industries Club luncheon on 30th 
October said that the function of 
the B.B.C. Television service would 
be so different from that of com- 
mercial television in the future 
that only in the most superficial 
sense would they be regarded as 

Educated Democracy 

It would be a mistake, Mr. 
Beadle said, to expect commercial 
television to be " a reflection of 
the advancing tastes and aspira- 
tions, or of the perplexities, of an 
educated democracy in the mak- 
ing." Its programmes, he implied, 
were to cater for the mass audi- 
ence while, on the other hand, the 
B.B.C. did not have to sell their 
product to anyone and could con- 
centrate on audiences in the 
plural. Mr. Beadle continued : "We 
measure our successes and failures 
to a large extent by whether or 
not we achieve the appropriate 
audience for each programme." 
The B.B.C, he said, would devote 
itself to a modern, up-to-date 
channel devoted to satisfying the 
requirements of an educated 

In other words, it seemed that 
Mr. Beadle was saying that com- 
mercial television could concen- 
trate on broad, popular entertain- 
ment for the masses, bringing the 
advertiser in touch with the large 
audience essential for effective 
sales promotion, while the B.B.C. 
would reflect the British way of 
life at its best, with particular pro- 
ej amines to appeal to particular 

This at once brought a broadside 

By the 


from Sidney Bernstein, who says 
that when it comes to quality 
Granada will match the B.B.C. 
production for production. He will 
have nothing of Mr. Beadle's blast 
about I.T.V.'s role as entertainer 
to the lowest common denominator. 
Herbert Morrison, M.P., former 
Home Secretary, in a speech on 
9th November hit another angle. 
He attacked commercial television 
as " wholly inflationary ", and 
THE observer reported him the 
next day as saying : 

" Commercial television has 
duplicated capital costs in a field 
where technical labour supply is 
not plentiful. It is lowering our 
standards and facing the B.B.C. 
with rt dilemma as to whether it 
should depreciate its own stan- 
dards or face the possibility of 
lessening its number of viewers. 
" The Television Act was a bad 
departure from television as a 
public service as compared with 
television chasing 'circulation' 
irrespective of standards and 

Wedgwood Benn 

Finally, we come to Anthony 
Wedgwood Benn, M.P., who writes 
a thoughtful article in the socialist 
digest for November. He puts for- 
ward a proposal that the whole of 
Britain's radio and television ser- 
vices should be run by four public 
corporations, all having a share in 
the licence fee and allowed to 
accept advertising. He wants the 
new public service based on four 
principles : 

1. The continued expansion of tht 
TV s( rvice. 

2. The continuation oj full public 
control oj all technical until* is. 
through tin Postmaster General. 


3. The maintenance of an element 

of public service in the operation 
of all stations. 

4. The maximum of competition in 
order to maintain the integrity 
and creativeness of programmt 
staff and the best choice for tin 
viewer and listener. 

His four public corporations 
would be as follows : First, the 
B.B.C, which would broadcast two 
basic national programmes in 
sound only, rather like the Home 
Service and the Third Programme. 
This should be able to be picked up 
all over the country. The B.B.C 
would also handle all overseas 
broadcasting as it now does. 

New Corporation 

Secondly, there should be a 
new corporation established called 
the " Independent Broadcasting 
Authority" (I.B.A.), which would 
take over the Light Programme as 
a second competitive national pro- 
gramme. It would also be respon- 
sible for technical co-operation 
with the regions. The regions 
would be completely autonomous 
and free to make their own net- 
work arrangements. Local V.H.F. 
broadcasting would also be stimu- 
lated by the regions. 

Thirdly, B.B.C. television should 
be hived off as the British Tele- 
vision Corporation (B.T.C). This 
would broadcast one or more 
national programmes and would be 
responsible for foreign links, like 
Eurovision. It would be completely 

Finally, the I.T.A. would be 
strengthened and given the right 
to produce its own programmes. It 
would also be given a greater 
authority over the programme 
companies. The exact nature of 
this relationship would be left open 
for negotiation. 

There is one further point, men- 
tioned by none of the foregoing 
protagonists but which deeply con- 
cerns us as Trade Unionists. The 
B.B.C, despite the terms of its 
Charter and despite recommenda- 
tions of the Beveridge Report, re- 
mains one of the most reactionary 
and impossible of employers. Com- 
mercial Television, on the other 
hand, albeit after some pressure, 

(continued on page 16 s ) 

December 1957 



Talking Points 



IT is about time we stopped let- 
ting people kid us that films and 
television are basically different 
and opposed to one another. True, 
I have yet to see a cinema adver- 
tisement urging patrons to watch 
a particular TV programme 
(though I expect that will come), 
but I should like to commend some 
fascinating work done by young 
Theo Richmond,* which indicates 
that a large section of cinema- 
goers are induced into the pictures 
by publicity on TV, both BBC and 

A Contradiction 

Richmond is what may at first 
sound like a contradiction in terms, 
for he is a film publicity director 
and a scientist, and the Boulting 
Brothers, who employ him, have 
just published his enquiry into 
what made people queue up to see 
Brothers In Law in the London 
general release area. 

Six out of ten who went to see 
this comedy also watch TV, but 
half of them only do so less than 
three evenings a week. Just the 
same, the TV programmes, which 
featured something about Brothers 
In Law, were so effective that 209f 
of those interviewed gave TV as 
their reason for going to see the 

Actually, the main reason given 
by those in the queues was the cast 

of this amusing British film (over 
30 r /c of those quizzed gave this 
reason for going to the pictures 
that day), but here, again, I feel 

* " The Answer in the Q." 

General Secretary 


has faced up to its responsibilities 
in recognising and negotiating pro- 
per agreements with the appro- 
priate Trade Unions. Whatever 
finally emerges as the new pattern 
we shall insist that the I.T.V. stan- 
dards and not the archaic ones of 
the B.B.C. shall continue to apply 
to those who create, produce and 
transmit the programmes. 

The four persons I have men- 
tioned have started us thinking. 
A.C.T.T. must before long get 
down to formulating its own policy. 
Maybe we should look carefully at 
the pronouncements I have cited 
for a start. 

that TV must be reckoned, together 
with the other means of publicity, 
to have had its effect, as most of 
the programmes featured one or 
more of the stars. It is significant 
that all the TV publicity was in 
entertainment programmes — seven 
of them from the BBC — and no 
commercials were telecast for the 
picture. I hope John and Roy 
Boulting and their far-sighted pub- 
licist Theo Richmond will carry 
out a similar survey with Lucky 
Jim (in my opinion a better piece 
of filmcraft than Private's Pro- 
gress or Brothers In Law), for 
which 15-second commercials have 
also been put on the air. 

No hasty conclusions can be 
drawn from the present enquiry — 
and Richmond is careful to point 
out the limitations in this case — 
but I commend it to the monolithi- 
cally-minded moguls of the Cine- 
matograph Exhibitors' Association, 
who have been trying to stop Eal- 
ing Films from selling some of 
their old comedies to a commercial 
TV contractor in the mistaken be- 
lief that this will ruin the cinemas. 

Can't the CEA see that one of 
the means of financing the large- 
scale productions, which are so 
necessary for their survival, is for 
producers to give old films a new 
lease of life and so get a new 
source of revenue from the pro- 
duct-hungry medium of TV? 

In an era when a number of 
talented film-makers are debasing 
themselves — and insulting their 
audiences — with horror and other 
X certificate films, it is refreshing 
to come across influential enter- 
tainers strongly condemning such 
catch-penny tactics. In a fine 
obituary to Louis B. Mayer the 
London Evening News wrote: 

" He detested the brutality that 
has entered pictures in the last 
decade. It made him unhappy 
that the public seemed to want 
I wonder whether the public 
really wants it. Anyway, now here 
is Sam Wanamaker, in introducing 
his New Shakespeare cinema- 
theatre-club-concert-hall in Liver- 
pool, saying he will not show films 
of violence, horror, science-fiction 
and exaggerated sex, nor produc- 
tions glorifying war. Bravo ! But 
Wanamaker then goes and spoils 
it by banning the sale of confec- 
tionery in the auditorium. Why put 
films that emphasise the unnatural 
side of life in the same category as 
the very natural, harmless desire to 
have a bite to eat or a refreshing 

Spoil Sports 

A similar ban mars the excellent 
National Film Theatre in London. 
I wonder if these spoil-sports 
understand the traditional likes of 
British audiences. John Hollings- 
head, one-time manager of the 
Gaiety Theatre, described the 
habits of the gallery at the Old 
Vic about 1838, which consisted of 

" perspiring creatures ; most 
of the men in shirt-sleeves, 
and most of the women bare- 
headed, with coloured handker- 
chiefs round their shoulders. 
. . . This ' chickaleary ' was 
always thirsty — and not 
ashamed. It tied handkerchiefs 
together — of which it always 
seemed to have plenty — until 
they formed a rope, which was 
used to haul up large stone 
bottles of beer from the pit, 
and occasionally hats that had 
had been dropped below." 

But I must not leave the National 
Film Theatre on a sour note, be- 
cause through their showing the 
East German picture Duped Till 
Doomsday during the recent Lon- 
don Film Festival, I spent many 
pleasant hours with its director 
Kurt Jung-Alsen, who flew over 
specially from Berlin. 

We discussed at length the ever- 
present problem of where to And 
good screen-writers — the acuteness 
of this problem in East Germany 

(continued on page 166) 



December 1957 

'Take Our Rice 


Little do the members of the 
great viewing public realise the 
blood, toil, tears and sweat which 
have gone into the production of 
the packshot they briefly glanced 
at, while gulping down their tea and 
sandwiches before the play they 
are waiting to see is due on the 
screen. The luscious packs of 
chocolates, biscuits, cakes, cigar- 
ettes, etc., which click on in casual 
perfection, in no way betray the 
days of drama that have gone 
before in order to get them that 

Take our rice pudding for in- 

Our studio had been com- 
missioned to do a series of films 
advertising a certain brand of this 
nourishing food. Following the 
cartoon action was to appear a 
sizzling pyrex dish of the most 
tempting rice pudding man has 
ever seen before or since. 

Our director's wife kindly brewed 
uj) the pudding in her oven, and 
the director, with his own hands, 
bore the result to the studio next 
morning for shooting. Once under 
the lights, though, the thing 
seemed to pale, as does the com- 
plexion of the healthiest actress 
when under the unflattering glare 

of the arc lamps. A little make-up 
was obviously needed. 

They dusted the surface tenderly 
with a little Shell lubricating oil 
and left it during tea-break to 

... a little lubricating oil 

brown under a powerful bulb. 
Even the best cooks are apt to 
mistime their confections and when 
the model cameraman hurried back 
to his work he found his charge 
suffering from acute sunburn. 

There was nothing for it but to 
make another pudd. 


i continued) 

is made more urgent by the Gov- 
ernment's desire to double produc- 
tion to some sixty films a year. 
One must admire the boldness of 
their producers in not taking well- 
tried subjects from novels, from 
the theatre or from other enter- 
tainment media, but in making a 
major proportion of pictures from 
original screen stories — Hcrr Jung- 
Alsen estimated about 90 r ; were 
specially written for filming. 

Kurt Jung-Alsen talked of the 
successful surmounting of many, 
but not all, of the problems that 
faced the film business In the 
German Democratic Republic after 
the war, which appeared to me to 
be epitomised in the startling 
economic achievement of now be- 

coming self-supporting. There used 
to be a Government subsidy for 
producers, but now box-office 
takings from home-produced and 
foreign pictures pay for the thirty 
features East Germany makes an- 
nually. With their own films as a 
basis they exchange them on a 
film-for-film arrangement with 
other countries, so building up a 
rich variety of international screen 
entertainment for the eighteen 
million inhabitants of his half of 

With a population three tunes 
that size this gives us hope that 
we should be able to put our own 
industry on a healthily sound 
basis, but before then we shall 
need a Declaration of Independence 
— from America, ami a few other 
of our bonds will have to be 
broken ! 

By this time the director's wife 
was showing a tendency to display 
her emancipation rights, when 
instead of a reply of ' yes. thank 
you ' to her query ' Had a good 
day at the studio, dear? ' she 
heard: 'Just make another rice 
pudding this evening, would you ? ' 

So the stills photographer's 
mother took over the job. Still it 
didn't look quite as a rice pudding 
should to the aesthetic gaze of the 

' Rip the skin off ', he demanded, 
' it doesn't look anything like a 
rice pudding skin.' 

' But it is a rice pudding skin ', 
said a voice daringly. The owner 
was quelled by a terrible glance. 

' Rip the skin off and take it over 
to the snack bar for re-browning.' 
With the sigh of a frustrated 
artist, the stills photographer did 
as he was bidden. 

The snack bar was clever at 
dishing out steak and two veg. at 
cut price, but when it came to 
re-browning rice puddings — — . 

The charred remains were 
mournfully deposited in the dust- 
bin, and the quest for the director's 
ideal began all over again. 

Tension ran high. By the time 
the eighth creation, looking more 
or less like a rice pudding in a 
pyrex dish, was ready for shoot- 
ing, nobody was speaking to any- 
body else much. When, during 


. . . rip that skin off 

afternoon tea-break, someone said 
jokingly to somebody else: ' Rice 
puddings to you', the look he re- 
ceived froze him to the marrow. 
Usually he is a gentle, kindly man. 

Still, it is always darkest before 
the light, as some old bore of a 
philosopher said, and sure enough 
the eighth pudding was a success. 
I expected a great shout to go up. 
the sort people give when their 
horse is first past the winning post, 
but no. They all just quietly went 
home to supper. I know what they 
were thinking, though: 'If it's rice 
pudding for afters I'll — .' 




December 1957 

Guide to British Film 


Year of Production : 1956. 

Studio: Location Aldershot. 

Laboratory: Olympic. 

Producing Company: Hammer Film 

Producer: Michael Carreras. 

Associate Producer: Anthony Nelson 

Stars: Leo Genn, Kieron Moore, 
Michael Medwin. 

Director: Michael Carreras. 

Scenarist: Howard Clewes. 

Camera Department: Lighting Camera- 
man, Jack Asher; Camera Operator, 
Len Harris ; 1st Camera Assistant 
(Focus), Harry Oakes; Other Camera 
Assistants, Peter Tabori, Stanley 
Evans, John Foley; Second Cameia 
Operator, Gerald Moss. 

Sound Department : Recordist (Mixer), 
Cliff Sandall ; Sound Camera Opera- 
tor, Walter Day; Boom Operator, 
Charles Harris; Dubbing Crew, Anvil 

Art Department: Art Director, Ted 
Marshall; Draughtsman, Don Mingay; 
Dress Designer, Molly Arbuthnot. 

Editing Department: Editor, Bill 
Lenny; 1st Assistant, John Beaton; 
Other Assistant, Max Wheeler; Dub- 
bing Editor, A. E. Cox. 

Production Department: Production 
Manager and/or Unit Production 
Manager, John Workman ; 1st Assis- 
tant Director, Don Weeks; 2nd Assis- 
tant Director, Stanley Gouler; 3rd 
Assistant Director. Hugh Harlow; 
Continuity, Rene Glynne; Production 
Secretary, Faith Frisby. 

Publicity Department: Publicity Direc- 
tor, Bill Batchelor. 

Stills Department: Still Cameraman, 
John Jay. 

Special Processes: Frank George, Syd 
Pearson; Special Effects, Pinewood. 


Year of Production: 1956. 

Studio: Beaconstield Films Ltd. 

Laboratory: Humphries. 

Producing Company: Beaconsfield Films 

Producer: Peter Rogers. 

Stars: Robert Beatty, Lee Patterson. 
Betty McDowall. 

Director: Gerald Thomas. 

Scenarist: Peter Rogers. 

Camera Department: Lighting Camera- 
man, Peter Hennessy; Camera Opera- 
tor, Zeo Rogers; 1st Camera Assistant 
(Focus), Paddy A'Hearne; Other 
Camera Assistant, Philip Finch. 

Sound Department: Recordist (Mixer). 
Len Page ; Sound Camera Operator, 
George Rice: Boom Operator, Don 
Roberts; Other Assistant (Mainten- 
ance), Frank Sloggett ; Dubbing Crew, 
Anvil Films Ltd. 

Art Department: Art Director, Norman 
Arnold; Draughtsman, Eric Saw. 

Editing Department: Editor, John 
Trumper; 1st Assistant, Alan Bell; 
Other Assistant, Raymond Lovejov. 

Production Department: Production 
Manager, John 'Pinky' Green; 1st 
Assistant Director, Bob Jones; 2nd 
Assistant Director. Jan Saunders; 
Continuity. Rita Davison: Production 
Secretary, Pauline Chessell. 

Publicity Department: Publicity Direc- 
tor. Leslie Frewin Organisation. 

Stills Department: Still Cameraman. 
Tom Belshaw. 



Year of Production : 1956. 

Studio: Southall Studios. 

Laboratory: Olympic. 

Producing Company: Delta Films Ltd. 

Producer: Francis A. Searle. 

Stars: Pat O'Brien. Lois Maxwell, 
Freddie Mills, George Colouris, 
Tommy Steele. 

Director: Terence Fisher. 

Camera Department: Lighting Camera- 
man, Geoffrey Faithfull; Camera 
Operator, Desmond Davis; 1st Camera 
Assistant (Focus), Mani Wynn. 

Sound Department: Recordist (Mixer), 
Richard Smith; Sound Camera Opera- 
tor, Stanley Samworth: Boom Opera- 
tor, Anthony Field. 

Art Department: Art Director; Bern- 
ard Robinson; Draughtsman, David 

Editing Department: Editor, Ann 
Chegwidden; Assembly Cutter, P. 

Production Department: Production 
Manager, Tom Connochie; 1st Assis- 
tant Director, Chris Noble; Con- 
tinuity, Margery Lavelly; Production 
Secretary, Pat Moon. 

Stills Depart merit: Still Cameraman. 
Frank Bellingham. 


Year of Production : 1956. 

Studio: Danziger Studios. 

Laboratory: Olympic. 

Producing Company : Hammer Film 

Producer: Anthony Hinds. 

Associate Producer: Anthony Nelson 

Stars: Brian Donlevy, John Longden, 
Vera Day, Sydney James. 

Director: Val Guest. 

Scenarist: Nigel Kneale. 

Camera Department: Lighting Camera- 
man, Gerald Gibbs; Camera Operator. 
Len Harris; 1st Camera Assistant 
(Focus). Harry Oakes; Other Camera 
Assistants, A. Gatward. 

Sound Department: Recordist (Mixer), 
Cliff Sandall; Sound Camera Operator, 
Bill Robson; Boom Operator, Claude 
Hitchcock; Other Assistants, J. West: 
Dubbing Crew, Gate Recording 

Art Department: Art Director, Bern- 
ard Robinson; Draughtsman, David 
Butcher: Dress Designer, Rene Coke. 

Editing Department: Editor, James 
Needs; 1st Assistant, Michael Hart: 
Dubbing Editor, A. E. Cox. 

Production Department : Production 
Manager and/or Unit Production 
Manager: John Workman; 1st Assis- 
tant Director, Don Weeks; 2nd Assis- 
tant Director, Stan Goulder; 3rd 
Assistant Director. Hugh Harlow; 
Continuity, June Randall; Produc- 
tion Secretary, Angela Taub. 

Publicity Department: Publicity Direc- 
tor, Bill Batchelor. 

Stills Department: Still Cameraman. 
John Jay. 

Special Processes: Special Effects De- 
partment, Pinewood. 


Year of Production : 1956. 

Studio: Bray Studios. 

Laboratory : Humphries Labs. Ltd. 

Producing Company: Hammer Film 

Producer: Anthony Hinds. 

Associate Producer: Anthony Nelson 

Stars: Peter Cushing. Hazel Court. 
Christopher Lee, Robert Urquhart. 

Director: Terry Fisher. 

Scenarist: James Sangster. 

Camera Department: Lighting Camera- 
man, Jack Asher; Camera Operator, 
Len Harris; 1st Camera Assistant 
(Focus), Harry Oakes; Other Camera 
Assistant, John Pratt. 

Sound Department: Recordist (Mixer), 
W. H. P. May; Sound Camera Opera- 
tor, Michael Sale; Boom Opeiator, 
Jimmy Perry; Dubbing Crew, Anvil 

Art Department: Production Designer. 
Bernard Robinson; Art Director, Ted 
Marshall; Draughtsman, Don Mingay; 
Dress Designer. Molly Arbuthnot. 

Editing Department: ' Editor, James 
Needs; 1st Assistant, Roy Norman; 
Other Assistant, Max Wheeler. 

Production Department: Production 
Manager and/or Unit Production 
Manager, Don Weeks; 1st Assistant 
Director, Derek Whitehurst; 2nd 
Assistant Director, Jimmy Komisar- 
jevsky; 3rd Assistant Director. Hugh 
Harlow: Continuity, Doreen Soan; 
Production Secretary, Faith Frisby. 

Publicity Department: Publicity Direc- 
tor, Leslie Frewin. 

Stills Department: Still Cameraman. 
John Jay. 

Special Processes: Eastmancolour. 


Year of Production: 1957. 

Studio: Beaconsfield. 

Laboratory: Humphries. 

Producing Company : Beaconsfield Films 

Producer: Peter Rogers. 

Stars: John Mills. Derek Farr. Noelle 
Middleton, Ronald Culver. Wilfrid 
Hyde White. 

Director: Gerald Thomas. 

Sceyiarist : Francis Durbridge. 

Camera Department : Lighting Camera- 
man. Otto Heller; Camera Operator. 
Alan Hume; 1st Camera Assistant 
(Focus). Brian West; Other Camera 
Assistant, Fhilip Finch. 

Sound Department: Recordist (Mixer). 
Len Page; Sound Camera Operator. 
George Price; Boom Operator. Don 
Roberts; Other Assistant. Frank 
Sloggett (Maintenance); Dubbing 
Crew, Anvil Films Ltd. 

Art Department : Art Director. Jack 
Stevens; Draughtsman. Erie Saw. 

Editing Department: Editor. Peter 
Boita; 1st Assistant, Mike Round; 
Other Assistant, Peter Keen; Dub- 
bing Editor. Richard Marden. 

Production Department : Production 
Manager and/or Unit Production 
Manager. Basil Keys; 1st Assistant 
Director, William Hill; 2nd Assistant 
Director, Bob Jones; Continuity. Rita 
Davison; Production Secretary." Paul- 
ine Chessell. 

Publicity Department: Publicity Direi 
tor, Leslie Frewin. 

Stills Department: Still Cameraman. 
Tom Belshaw. 

December 1957 




Year of Production: 1956/57. 

Studio: Shepperton. 

Laboratory: Humphries. 

Producing Company: Hallmark Pro- 
ductions Ltd. 

Producer: Michael Relph. 

Associate Producer: Leslie Gilliat. 

Stars: Virginia McKenna, Bill Travers, 
Bernard Miles, Peter Sellers, Mar- 
garet Rutherford. 

Director: Basil Dearden. 

Scenarists : William Rose, John 

Camera Department: Lighting Camera- 
man, Douglas Slocombe ; Camera 
Operator, Jeff Seaholme; 1st Camera 
Assistant (Focus), Paddy A'Hearne; 
Other Camera Assistant, Ron Drink- 

Sound Department: Recordist (Mixer), 
Buster Ambler; Sound Camera Opera- 
tor, Jimmy Dooley; Boom Operator, 
Ken Ritchie; Other Assistant, Eric 
Vincent (Maintenance); Dubbing 
Crew, Bob Jones, John Aldred. 

Art Department: Art Director, Allan 
Harris; Draughtsmen, Roy Walker. 
John G. Earl; Dress Designer, An- 
thony Mendleson. 

Editing Department: Editor, Oswald 
Hafenrichter; 1st Assistant, Alban 
Streeter; Other Assistants, Eileen 
Daines, Alan Corder, Guy Ambler; 
Dubbing Editor, Arthur Cox. 

Production Department: Production 
Manager, John Pellatt ; 1st Assistant 
Director, Eddie Pike; 2nd Assistant 
Director, John Meadows; 3rd Assis- 
tant Director, Claud Watson; Con- 
tinuity, Jane Buck; Production Sec- 
retary, Jean Williams. 

Publicity Department : Publicity Direc- 
tor, Robin Grocott. 

Stills Department: Still Cameraman, 
Norman Hargood. 

Special Processes: Wally Veevers, 
George Samuels. 


Year of Production: 1957. 

Studio: Walton-on-Thames. 

Laboratory : Denham. 

Producing Company: Parkside Film 

Productions Ltd. 
Producer: Roger Proudlock. 
Stars: Eunice Gayson, Roland Culver. 

Guy Rolfe. 

inn ctoi Terry Bishop. 

Scenarist: Roger Proudlock. 

rami in Department: Lighting Camera- 
man, Jimmy Harvey; Camera Opera- 
tor, Eric Williams; 1st Camera Assis- 
tant (Focus), Mike Wilson; Other 
Camera Assistant. Peter Burke. 

Sound Department Recordist (Mixer). 
H. ('. Pearson; Sound Camera Opera- 
tor, I). Gardner; Boom Operator, 
C. Humphreys; Maintenance. C. 
Barnes; Dubbing Crew, R.C.A. Ham- 

Ill / >t inn t mi at Art Director, Tony 
Masters; Assistant Art Director, 
Draughtsman, Dress Designer — c/o 
NettlefnM Studio: 

Editing Department: Editor. Lito 
Carruthers; 1st Assistant, Bill Creed. 

Production Department: Production 
Manager, Ben Arbeid ; 1st Assistant 
Director, Douglas Hickox; 2nd Assis- 
tant Director, John Roddick : 3rd 
Assistant Director, Jacques de Lane 
Lea; Continuity. Bettj Harley; Pro- 
duct ion Sei tet. -it \ . I liana Italian. 

Publicity Department Publicitj Direc- 
tor, Jack Daw. 

stills Department: Still Cameraman, 
I touglas Webb. 


Year of Production: 1957. 

Studio: Beaconsfield. 

Laboratory: Rank Laboratories (Den- 
ham) Ltd. 

Producing Compami: Insignia Films 

Producer: Herbert Smith. 

Executive Producer: Peter Rogers. 

Stars: Barbara Shelley, Robert Ayres. 
Kay Callard. 

Din i tor: Alfred Shaughnessy. 

Scenarist: Lou Russoff. 

Camera Department: Lighting Camera- 
man, Peter Hennessy; Camera Opera- 
tor, Paddy A'Hearne; 1st Camera 
Assistant, Tommie Fletcher; Other 
Camera Assistant, Michael Rutter. 

Sound Department: Recordist (Mixer). 
Len Page; Sound Camera Operator, 
George Rice; Boom Operator, Don 
Roberts; Other Assistant, Frank 
Sloggett (Maintenance); Dubbing 
Crew. Anvil Films Ltd. 

Art Department : Production Designer, 
Jack Stevens; Art Director, Eric- 

Editing Department: Editor, Jocelyn 
Jackson; 1st Assistant, Chris Hone; 
Other Assistant, Ian Marsden. 

Production Department: Production 
Manager, Pinky Green; 1st Assistant 
Director, William Hill; 2nd Assistant 
Director,. Bob Jones; Continuity, 
Olga Brookes; Production Secretary, 
Cynthia Maugham. 

Publicity Department: Publicity Direc- 
tor, Philip Ridgeway. 

Stills Department: Still Cameraman, 
Tom Belshaw. 


Year of Production: 1957. 

Studio: Pinewood. 

Laboratory: Rank Laboratories (Den- 
ham) Ltd. 

Producing Company: Rank Organisa- 
tion Film Productions Ltd. 

Producer: Emeric Pressburger. 

Production Controller: Arthur Alcott. 

Associate Producer: Sydney Streeter. 

Stars : John Gregson, Belinda Lee, 
Cyril Cusack. 

Director: Julian Amyes. 

Scenarist : Emeric Pressburger. 

Camera Department: Lighting Camera- 
man. Chris Challis; Camera Operator, 
Austin Dempster; 1st Camera Assis- 
tant (Focus), Steve Claydon; Other 
Camera Assistant. Leon Davis. 

Soiiiitl Department: Recordist (Mixer), 
John W. Mitchell; Sound Camera 
Operator, Ron Butcher; Boom 
Operator, John Daniel: Boom Assis- 
tant. Roy Charman ; Dubbing Crew, 
Gordon K. McCallum, J. L. W. Wood- 
wiss, C. le Messurier; Music. Ted 

Art Department: Art Director, Carmen 
Dillon; Assistant Art Director (Set), 
Vernon Dixon. Draughtsmen. T. Marsh 
(Chief), P. Lamont, M. Lamont; 

Dress Designer, Julie Harris. 

Editing Department: Editor, Arthur 
Stevens; 1st Assistant. Jack Gardner; 
Other Assistant, Norman Wanslall; 
Dubbing Editor. Arthur Ridout ; Dub- 
bing Assistant, Graham Harris. 

Production Department: Production 
Manager. Charles Orme; 1st Assistant 
Director, Bob Asher; 2nd Assistant 
Director. Charles Hammond; 3rd 
Assistant Director, Denzil Lewi.-; 
Continuity, Gladys Goldsmith; Assis- 
tant Continuity. Loreiev Stephens; 
Production Secretary. Jeanette Green 

Publicity Department Pnii Publicist, 
Jean « isborne. 

Stills Department Still Cameraman, 
Norman Grys] rdt . 


Year of Production: 1957. 

Studio: Southall. 

Producing Company: Major Produc- 
tions (London) Ltd. 

Producer. John Temple-Smith. 

Stars: Griffith Jones, Ursula How ell- 
Honor Blackman. 

Director: Peter Graham Scott. 

Camera Department: Lighting Camera- 
man, Jimmy Harvey; Camera Opera- 
tor. Tony Heller; 1st Camera Assis- 
tant (Focus), Peter Sandford. 

Sound Department: Recordist (Mixer). 
Dick Smith: Sound Camera Operator-. 
Harry Tate: Boom Operator, John 

Art Department: Art Director, Norman 
Arnold; Draughtsman. Thomas Cos- 

Editing Department: Editor, Thomas 

Production Department: Production 
Manager, Donald Wvnne; 1st Assis- 
tant Director, Buddy Booth: 2nd 
Assistant Director, Jan Saunders; 
Continuity, Gladys Reeve; Produc- 
tion Secretary, Tfix Wilkin. 

Stills Department: Still Cameraman. 
Curtis Reekes. 

British Transport Films 

On all films 
Executive Producer: Edgar Anstey. 
Product ion Manager: Len Girdlestone. 
Assistant Production Manager: Ruth 


Technicolor from Kodachrome 
15 minutes 

Producer: Ian Ferguson. 

Director: Michael Clarke. 

Cameramen: Reg Hughes, Michael 

Editor: Margot Fleischner. 

Assistant Director: Paul Khan. 

Assistant Cameramen: David Watkin, 
John Mantell. 

Assistant Editor: Pat Jones. 

Commentary written In/ Norman Prout- 

Commentary spoken by Meredith Ed- 

Music composed by Edward Williams. 

Recording : Anvil Films. 


Technicolor from Kodachrome 
24 minutes 

I'rtitlu, t i Ian Ferguson. 
Director: Tony Thompson. 
Cameraman: Ron Craigen. 
Editor: John Legard. 
Assistant Director Edward Scott. 
Assistant Cairn raman : Lewis McLeod. 
Assistant Editor: David Plumb. 
Commentary written by Norman Prout- 

Commentary spoken by Ralph Wight 

man, Uffa Fox. 
Music composed by Hubert Clifford. 
Recording: Anvil Films. 


5 minutes 

Product r Stewart McAllistei 
Director: Tony Thompson. 
Cameraman: David Watkin. 

Editors: Stewart McAllister. Adrian de 

Assistant Cameraman: Jack West 
Assistant Editor: Rosina Pedrick. 
Writti a by Paul Le Saux. 
Spoken tiu Harry Locke, John Warren 
Bi i ording Anvil Films. 

December 1957 




I HAVE been dedicated to films 
practically all my grown-up life. 
I threw in my lot with the cinema 
in its comparatively early days, 
when pay was low and one had to 
fight alone against snobs and 
Philistines for the recognition of 
this new art. 

The cinema then was not only 
ignored or even despised by the 
intelligentsia, but Wardour Street 
and the studio chiefs were distrust- 
ful of workers whom they regarded 
as "educated". (How different 
things became in this respect some 
years later when at certain studios 
one could hardly get a job without 
an Old Etonian tie and a university 
education — though, as an alterna- 
tive, titled relatives would help 
more than somewhat!) 


Shortly after I had committed 
myself to films, there was quite a 
flow of dedicated men into our 
studios. That was in the mid- 
twenties, when the first Film 
Society was formed, when we were 
fighting for the first Film Quota 
legislation (with its vital require- 
ment for Renters to sponsor a 
quota of British productions) and 
when Ivor Montagu and I were 
active with our film-editing com- 
pany, supplying British studios 
with our hand-picked colleagues, 
all of whom were dedicated 
pioneers and included such men 
as Ian Dalrymple, Frank Wells, 
Angus MacPhail, Jock Orton, Tod 
Rich, Michael Hankinson and 
Sergei Nolbandov. 

Even in those days, I realised 
that there were degrees of dedica- 
tion and that one could give one's 
devotion to films in different ways. 
Some of my associates lived en- 
tirely in a world of films, going to 
see movies every night, travelling 
considerable distances to track 
down a film they had missed, 
noting cinematic tricks and 
dramatic twists, and storing their 
impressions for future use. 

Although the enthusiasm of these 
devotees was inspiring and their 
knowledge of trends and experi- 
ments in film production kept us 
informed, their suggestions at 
work were derived from other 
films, rather than from life. I am 
reminded of William Archer's 

advice to playwrights, " Let your 
inspiration come from life, not 
from the theatre." 

This is a risk we also run when 
we get in the swim as directors, 
associate-producers, script-writers 
and others in important key posi- 



tions, and we become involved in a 
succession of first nights, film 
parties, Savoy Grill suppers, 
Caprice luncheons and mixing only 
with other people in the show 
business, dashing from studios to 
these occasions in our fast cars 
and losing touch with the realities 

Adrian Brunei with his l!tl!) model 
Debrie camera 

of life, which is regrettable since 
these people set the tone for our 

There are many ways in which 
one can be dedicated to films. 
There is the careerist, whose 
medium is film. He is often some- 
what more dedicated to himself 
than to the cinema and is generally 
a diplomat, a good mixer with 
important but inferior people and 
a ruthless handler of his financial 
backers, yet in many cases he is 

an asset to films and the best of 
this category are amongst the 
world's outstanding movie-makers. 
Many film technicians are dedi- 
cated men and women — until ambi- 
tion leads them to become direc- 
tors ! While they were good or 
very good script-writers, camera- 
men, art-directors or editors, for 
example, they were dedicated to 
their chosen tasks as well as to the 
cinema and were creative film- 
makers in production teams, even 
though individualists. 

Then the glamour of being head- 
man on the studio floor or the 
inner conviction that they could do 
better than the welder-in-chief with 
whom they worked, gets hold of 
them. Occasionally their hunch is 
right and their change of position 
is justified, but too often they lack 
something, such as a forcefulness 
in their dealings with their War- 
dour Street bosses, and so, in the 
battle for assignments and treat- 
ments, they temporise, their dedi- 
cated and missionary principles 
dwindle and they end up cynical 
and disillusioned hacks, and as a 
result we lose keen and first-rate 
writers, cameramen, art-directors 
or editors. 

" Don't Lose Touch " 

it is because I have seen this 
happen that I have begged such 
friends of mine when embarking on 
careers as directors not to lose 
touch with their old techniques, so 
that if they are not the successes 
they hoped to be as directors, they 
could still maintain pride of 
achievement in their previous jobs 
and thus remain dedicated to films, 
instead of becoming cynical and 

I am reminded of my own experi- 
ence. As a director I was always 
thoroughly at home in the job, 
working with artists and techni- 
cians, but I was not tough enough 
in the constant battle with my 
employers. I would have been far 
happier had I kept in touch with 
the market for editors, alternating 
assignments to direct with those 
to edit. I would have been more 
successful, too, if I had pursued 
such a policy, for I never reached 
a position where I could pick and 
choose my stories or my employers; 

(continued on page 168) 



December 1957 



"DHYSICALLY he is a squarish, 
•*- saturnine near-fifty with a dis- 
tinguished head of immaculate 
iron-grey hair. Psychologically he 
is a disciplined rebel, an optimist, 
and an enthusiast for the good 
things of life. The facts behind 
the man are legion and illuminat- 
ing; a BBC staff television pro- 
ducer in 1938; one of the founders 
and now chairman of the Guild 
of Television Producers and 
Directors; first A.C.T.T. television 
Vice-President and television Exe- 
cutive Council member; first Head 
of Drama for A.T.V.; and producer 
of more television plays than he 
can count. 

The man behind the facts is 
more elusive, and frequently con- 
tradictory; he is a meticulous, 
painstaking craftsman who plans 
his productions with an accuracy 
that prevents much of the scurried 
panic that is so common a feature 
of a television studio, and yet he 
has a ready and biting sense of 


humour that can turn as often 
against himself as against other 
people; his practical enthusiasm 
for the Guild and for the union is 
evidenced by the number of com- 
mittees he serves on, and the 
amount of time he spends away 
from home and office, and yet he 
hates politics and is a devoted 
family man, proud father of two 
daughters; he is a keen fighter for 
freedom — particularly his own — 
which is why, having escaped from 
the tentacles of the BBC and re- 
signed a top administrative posi- 
tion with ATV, he now insists on 
remaining a completely free free- 
lance producer. 

Felt the Call 

Desmond Davis started his 
career as an engineer but soon felt 
the siren call of the entertainment 
industry and spent his apprentice 
years acting and stage-managing, 
notably for Basil Dean, and for 
Sir Nigel Playfair at the Lyric 
Theatre, Hammersmith, where he 
gained the musical experience 
which in October 1939 led the 
BBC to transfer him to the Music 
Productions of sound radio where 
he wrote, adapted and produced 
musical shows, operas and 

After the war, even before he 
was officially demobilised from the 

On being dedicated to films 

( continued) 

the inexorable demands of land- 
lords and household expenses 
usually landed me an assignment 
that at its best was a challenge to 
disguise and gild a piece of tripe. 
to quote Anita Loos. My main 
comfort is, however, that I never 
lost my faith in the cinema, for 
films had become an ineradicable 
" religion " and an obstinate 
" patriotism " with me. 

Although I have stressed the 
importance of keeping closely in 
touch with real life and with people 
of all kinds. 1 maintain that one 
who would claim to be dedicated 

to the cinema should make sacri- 
fices in its cause. An obvious 
sacrifice is active participation in 
Union affairs, together with addi- 
tional political agitation for the 
protection of our film production 
industry — such as pestering M.P.s 
and newspapers with personal 
letters. Not so much of a sacrifice, 
but rather a pleasurable duty, is 
to support such institutions as the 
British Film Institute, the British 
Film Academy, the National Film 
Theatre and one's local Film 

And finally, a personal sugges- 
tion for your home — collect things 
of interest connected with films, 
such as books, stills, programmes 
and even apparatus! 

army, he was again producing tele- 
vision shows and, when American 
television started, he was sent for 
to advise and lecture on television 
production methods. Back in this 
country he helped to pioneer the 
High Definition system of film 
making under Norman Collins. 

It is this breadth of experience 
in several media that is his parti- 
cular strength. His basic training 
in the theatre and in the control of 
actors has ensured that he is 
equally at home in theatre, radio, 
television and film. As a director, 
Davis is a dedicated man, satisfied 
only with the best, and demand- 
ing just that, whether it is from 
actor, writer, stage-hand, camera- 
man, management or, above all, 

He will work long hours, fre- 
quently deep into the night, ironing 
out every little kink and detail 
for a forthcoming production. His 
method with actors is to cajole 
and explain rather than to 
dominate, and any really important 
point is worked out over a drink 
in a nearby pub. Here he is at his 
best, a fluent talker and raconteur 
who, when his particular interest 
is aroused, will tend to dominate 
any conversation, not from selfish 
reasons, but by the sheer weight 
of his enthusiasm. 

Against Diets 

A conservative in the best, and 
least political sense of the word, 
he is on the side of civilisation- 
particularly a classical civilisation, 
and strongly deprecates the inven- 
tion of the internal combustion 
engine. He is for Georgian archi- 
tecture and against modern flats; 
he is a wine drinker and a gourmet, 
and against cocktails and diets 
and pill-taking; he would inevit- 
ably be against television were it 
not his chosen profession. This 
being so he brings to this new- 
fangled entertainment process all 
the passionate absorbed concentra- 
tion of love and attention that an 
old-time actor-manager would give 
to his theatre. 



December 1957 




CINCE the close down of Para- 
^ mount News earlier in the year 
there has been considerable com- 
ment in the industry about the 
future of the remaining cinema 
newsreels. Most people have adop- 
ted a pessimistic attitude and on 
the face of it with some justifica- 
tion. There is no doubt that the 
newsreels in their present form are 
no longer in the fairly strong posi- 
tion they were about ten years ago. 

The usual reason advanced, of 
course, is that it is because of the 
rise of television news. This is not 
altogether true. From the point of 
" up to dateness " in news, the 
cinema newsreels, for obvious 
reasons, have never tried to com- 
pete with television newsreels any 
more than television itself has 
seriously tried to compete with 
news broadcasts on sound radio. 

They would disagree 

Some of my TV colleagues would 
strongly disagree with this. The 
tendency among international TV 
networks is to get their news pic- 
tures out, if not by hours, by 
minutes ahead of their rivals. But 
in this country, between B.B.C. and 
I.T.N., the emphasis is gradually 
shifting to the presentation of 

This brings us back to the 
cinema newsreels. They are de- 
signed to form part of a cinema 
programme. They have been hit 
financially for more or less the 
same reasons that cinemas have 
been hit. A lot of people are con- 
vinced that the cinema industry 
was fundamentally wrong in the 
way it handled the rise of televi- 
sion. First, it pretended that TV 
did not exist; secondly, that it was 
not much good as an entertain- 
ment medium, and thirdly, that it 
would not last. 

It is not the purpose of this 
article to discuss what should have 
been done or what steps are now 
being taken within the industry, 
but the newsreel companies, to a 
very large extent, identified them- 
selves with this attitude of the 
exhibitors. True, they did not have 
much option, but now with the 
falling of box-office takings and 
the closing down of cinemas them- 


selves, they are financially badly 

There is a definite resistance on 
the part of exhibitors to show a 

This Freedom 

One of our members writes : 

We Tories recently encour- 
aged the G.P.O. to increase 
the telephone charges. Thus 
the demand for telephones 
has decreased or, to put it 
more positively, UNDER 

The direct result of this 
businesslike policy is my 
telephone: the number is . 

We (the Tories) are busy 
organising a slump, or, again 
more positively, increasing 
the supply of labour. If it is 
my labour that is increased 
and in case you hear of 
something at which I might 
earn a crust, please make a 
note of my number. 


newsreel. The excuse is usually 
that it costs too much for the pro- 
gramme time involved, and in any 
case, " everybody has seen it on 
television already ". The cost of 
producing a newsreel has, without 
any doubt, risen enormously, and 
revenue has not kept pace. How 
these losses are offset by the parent 
companies of the newsreels or by 
other methods is something we 
cannot go into here. 

However, within newsreel circles 
the talking point is "presentation". 
Pathe News are now, from time to 
time, devoting the entire reel to 

some controversial topic of news 
or to some news story which war- 
rants a longer pictorial presenta- 
tion than would normally be given. 

It has been reported that Movie- 
tone, later next year, may be pro- 
ducing a black-and-white Cinema- 
Scope reel. The Rank Organisation 
is considerably developing along 
certain lines and how G.B. News 
will fit in is, at the moment, purely 

Obviously, considerable re-think- 
ing on presentation will have to be 
made. The formula which has been 
in existence for nearly thirty years 
will be inadequate. Have we the 
people in the newsreels who are 
capable of producing a new style 
of reel, or are they so inbred that 
they have got into a rut? Can the 
newsreels risk the financial cost of 
experimenting or will they just 
fade away? 

Finest in industry 

Our newsreel technicians are 
among the finest in the industry. 
Not only have the cameramen to 
be technically proficient under all 
kinds of difficult conditions, but 
they must be first-class journalists 
as well in order to provide a com- 
plete pictorial report of a news 
event to editors who only have a 
few hours to sort out the material 
and present it in a comprehensible 
form. It is a wonder that there are 
any pictures at all ! The standards, 
efficiency and discipline are there 
— what are we going to do with 
them ? 

This article is necessarily brief. 
It would be impossible to go into 
the problem in detail, nor is it 
called for. It's purpose is to pro- 
vide a fairly informative back- 
ground to any discussion our mem- 
bers may have. 

That dog again 1 

". . . in between the big debates, 
Conference found time to flay the 
present Government for its present 
economic and financial policy, in- 
cluding raising the Bark Ftate."- 
Misprint in George Elvm's report 
on the Labour Party Conference. 



December IBS'* 

Book Review 


NEXT STOP — PEKING, by R. J. about production and trade, will be 

Minney. Newnes, 25/-. 

Members had a glimpse of R. J. 
Minney's visit to China when he 
wrote on their film industry in 

disappointed. That is true in a 
way because it is not that kind of 
a book. But he does much better 
than that because, in a live, fas- 
cinating personal record of his 

ample, which were a curse of old 
China : 

" The next morning, while Len- 
nox* and I sat talking in his room, 
we saw our first fly in China. We 
had not been forty-eight hours in 
the country. The fly crawled along 
Lennox's desk, stopped, saluted us 
cheekily with both front feet and 
trotted on gaily. We leapt out of 
our chairs to have a closer look. 
The fly stopped again and stared 
defiantly . . . Undoubtedly it was an 
event. Here at any rate was one 
fly . . In all, during the entire 
period of our stay, we saw eight 
flies in various part of China. The 
tally was carefully kept." 

Then he tells us how, with the 
help of Street Committees sanita- 
tion has been organised and clean- 
liness imposed, resulting in the 
virtual extermination of flies and 
other insect pests as one of the 
results of the exercise. 

In such fascinating ways " R.J." 
pictures the new China; the 
awakening of a giant, as he des- 
cribes it, with vast agricultural 
and industrial development, rising 
living standards, and a people 
happy and imbued with hope. 

Not only have I been thrilled by 
Next Stop — Peking, it has left me 

Above: One of (he Rates of the Walled City, Peking. 

Bight: K. J. Mi 

film & TV technician some months 
ago. Now in Next Stop — Peking 
he tells the whole exciting story of 
his trip to lecture in Peking and 
elsewhere at Bernard Shaw Cen- 
tenary Celebrations. Also, as be- 
hoves a good film man, he illus- 
trates his book for good measure 
with numerous colour and mono- 
chrome photographs taken by him- 

My first reaction on reading the 
book is to wish that R. J. Minney 
could be appointed perpetual sec- 
retary to the numerous delegations 
which visit Russia, China and 
Eastern Europe and return home 
with reports which are frequently 
as indigestible as they are statisti- 

in his preface "R.J." says that 
those who expect a political treat- 
ise, with comparative statistic 

nney in Peking. 
Cover still 

shows the 

tilming of an 
opera in 
colour in 

16,000 mile journey through Rus- 
sia, Siberia and China, he conveys 
to us the transformation which is 
happening in those countries, par- 
ticularly China, much more vividly 
than most travellers have done 
using the more traditional report- 
ing-back methods. 

But let " R.J." speak for himself. 
On disease-carrving flies, for ex- 

itching, as I know it will other 
readers, to travel the same route 
and see for myself the rapid and 
beneficial strides being made 
along the road to accomplish one 
of the supreme achievements of 
the present-day world. q h E 

• Lennox the Irish play- 

wright, was " U.J.'s " colleague on 

the trip. 

December 1957 




KEN ROBERTS, Secretary of the Kodak employees' 

A.C.T.T. Branch, describes his visits to the Agfa 

and Dekopan factories 


TOURING a recent stay in 
U Eastern Germany, I eagerly 
accepted an invitation from the 
East German Chemical Workers' 
Union to visit the raw film manu- 
facturing plants of Agfa and 

The State-controlled Agfa works 
is situated at Wolfen, in a greenish 
area about thirty miles from 
Leipzig. It is indeed an astonish- 
ingly large plant employing over 
15,000 workers of whom 60% are 
employed on film and sensitised 
goods production and 409f on the 
manufacture of rayon, artificial 
silk, chemicals and magnetic tapes. 

Dressed in White 

Before commencing my exten- 
sive tour accompanied by the 
factory manager, interpreter and 
officials of the Chemical Union, I 
was dressed from head to foot in 
white protective clothing, which is 
the usual precaution taken when 
entering workrooms where sen- 
sitising is taking place; this helps 
to prevent dust contamination on 
the film emulsion surfaces. 

At my own request the pro- 
gramme was concentrated round 
the actual making of the raw film 
base, the viewing of the emulsion 
coating machines, the spooling 
sections, melting departments, etc., 
in fact, all the processes which are 
essential in making it possible to 
put that treasured roll of film in 
the technician's camera. 

I was shown everything I 
wanted to see with the greatest 
friendliness and readiness. During 
discussion I learnt that the Agfa 
works emerged from the last war 
almost undamaged, all the 
machinery and technical installa- 
tions were unscathed, making it 
possible to start production im- 
mediately after the end of hos- 

Seemingly a great obstacle to 
the competitive capacity of Agfa 
in the world market was the com- 
pulsory release of all their patents 
and processing methods. However, 
I saw for myself that today they 
are working to full capacity. The 
working week generally is 44 

In the main departments, a 
round-the-clock, three-shift system 
is worked, consisting of eight 
hours per shift. 

Numerous grades, positive, nega- 
tive, colour and X-ray are being 
produced for internal consumption 
and for export. Ninety-nine per 
cent of production, I learnt, is now 
on safety film base. 

It was pointed out to me how in 
pre-war days, under the economics 
of private ownership, thousands of 
pounds were often spent and 
countless man-hours invested, in 
an attempt to discover a process 
or a production method which 
another local film competitor had 
already discovered. Constant 

antagonism between companies 
existed. But today, I was informed, 
in Eastern Germany all film com- 
panies pool their ideas and ex- 
change personnel and experiences. 
Joint meetings are held, too, be- 
tween German, Russian, Czecho- 
slovakian and other film workers. 
This has tremendously minimised 
raw film defects, overcome produc- 
tion bottlenecks and has revolu- 
tionised methods. Industrial 
secrets are shared, full co-opera- 
tion is the motto. 

Advanced Techniques 

This united co-ordination has not 
meant a destruction of the com- 
petitive spirit, or a stagnation in 
production. On the contrary, it 
seems to have had the opposite 
effect. My attention was drawn 
to the high degree of mechanisa- 
tion, with the most advanced 
techniques I have ever witnessed. 
I observed by the speed of the 
machines and the intelligent team 
work, that even under darkroom 
conditions there was extremely 
high productivity, without signs of 
sweated labour. 

As a trade unionist, I of course 
took interest in the activities of 
the factory union. Membership of 
the Chemical Workers' Union, 
which caters for all Agfa workers, 
is voluntary. There is no closed 

I was told that the main duties 
of the union were to deal with 

items appertaining to the welfare 
of the workers, among them being 
wages, social insurance, safety 
measures, etc. From what I saw 
and heard it is not failing in its 
job. Wages by present East Ger- 

Ken Roberts at Agfa Factory 

man standards are good. Every 
kind of factory amenity one could 
wish for is available, canteens, 
children's nurseries, dental treat- 
ment, X-ray units, and excellent 
medical facilities. 

I was assured that dermatitis 
which can arise from the handling 
of chemicals, raw emulsions, etc., 
is extremely rare owing to pro- 
tective measures which are in 

At the Dekopan film works at 
Kopenick, East Berlin (prior to 
1945 this plant was owned by 
Kodak Ltd.), over 1,000 workers 
are employed. It suffered substan- 
tial damage during the war but is 
now fully reconstructed with new 
extensions. It produces its own 
film base. 

Owing to space I must sum up 
my impressions in a few words. 
Work conditions and amenities, in 
common with Agfa, are first rate. 
Modern perfected darkroom tech- 
niques exist. A recent achievement 
by Dekopan is the development of 

(continued on page 172) 



December 1957 

Organisers' Page 


C'MPLOYERS in the Film In- 
^ dustry as an almost invariable 
rule honour the agreements, but 
recently a case arose of a girl who 
was given one week's notice in- 
stead of the customary two. On 
approaching the employer we were 
told that as she was not a member 
it was not our concern. It had to 
be pointed out that no one can be 
employed at conditions less favour- 
able than those laid down. It is 
fair to add that the two weeks' 
notice was given. 

In another case it was brought 
to our notice that a member had 
not received the latest increase, on 
the plea that he had received a 
merit award just prior to the date 
of the award. The management 
did not feel that a further advance 
was justified, but it is pleasing to 
note that after eleven weeks the 
advance was paid with retrospec- 
tive respect. 


The tragic death of Jim 
Campbell, General Secretary of the 
N.U.R., in a car accident has 
robbed the labour movement of a 
great figure. As a former railway 
worker although not a member of 

East Germany 

( continued) 

a yellow-based X-ray film giving a 
clearer definition than the familiar 
black and white type. This has 
been acclaimed as the X-ray film 
with a future. Output of film and 
printing papers for still photo- 
graphy seemed to be one of their 

If I am asked my deepest im- 
pression of the East German film 
workers, my answer would be, first 
their enthusiasm, and second, their 
sense of ownership of their fac- 

In conclusion, I am indebted to 
the Agfa and Dekopan Manage- 
ments for their generous hos- 
pitality and particularly to the 
officials of the East German 
Chemical Workers' Union, who 
went to great lengths to make my 
visit pleasant, instructive and en- 


the N.U.R., I would like briefly to 
pay a tribute to a man of out- 
standing integrity and humanity. 
Not a brilliant orator, he spoke 
with such sincerity and argued 
with the B.T.C. the case for the 
railwaymen with a real under- 
standing and genuine feeling. Jim 
Campbell will be missed, not only 
by railwaymen, but by all people in 
the organised Trade Union move- 

Recently a Probationary mem- 
ber submitted an application for 
full membership; the shop 
steward's comment is worthy of 
reproduction: " It is my considered 
opinion," he wrote, " that the 
above-named sponsors are either 
lying in their teeth or have been 
bought. Mr. X ... is a monarchist, 
a reactionary and a religious 
fanatic. He has brought disaster 
and chaos upon every picture on 
which he has worked. He is sworn 
to smash the Union by internal 
erosion. He demoralises all who 
work with him, grinds the faces 
of those below him into the mud of 
our car-park and gives succour 
and encouragement to our tyran- 
nical capitalist masters. 

" If your honours are prepared 
to ignore these several points, 
though, I have no hesitation in 
recommending that his application 
be accepted so that he may take 
his rightful place with the rest of 
us rogues. — — , Shop Steward." 

The member who very sportingly 
sent along this high commenda- 
tion with the form made this com- 
ment: " Concerning the Shop 
Steward's remarks, I feel he is a 
member of the wrong Union, I 
think he ought to belong to Equity 
like any other comedian." 

Fred Tonge 

"A member should carry not 
only a Union card in his pocket 
I ut Trade Unionism in his heart." 

Walter Reuther, U.S.A. delegate 
to the T.U.C. 

Beaconsfield Films 

has been elected Journal corres- 
pondent at Beaconsfield Studios, 


" A meeting was called recently 
for the purpose of clarifying issues 
arising out of reports in the trade 
press to the effect that Julian 
Wintle had done a deal and bought 
the studio. This affected many of 
our members who had been at 
Beaconsfield since the Group Three 
days. They felt that the new 
owners, Beaconsfield Films Ltd., 
had come to the studio with great 
ideas but could not now live up to 

" I said that I had received 
reassurances from the Board of 
Directors, with whom I had had 
several meetings, that Mr. Wintle 
would keep on the existing techni- 
cians and crews, though this was 
strictly a gentleman's agreement 
and a verbal one. 


" Several questions were asked, 
and some members expressed their 
disappointment that Peter Rogers, 
Managing Director of Beaconsfield 
Films Ltd., had decided to make 
features elsewhere. In many ways 
this marked the disintegration of 
what they thought was a good 
team. Mr. Rogers' position was 
that he desired to make large-scale 
features on location, using such 
studio space in Britain as may be 
available in the future. 

" His position was now compli- 
cated by the advent of the tele- 
series, Ivanhoe, which was occupy- 
ing the main stage and would con- 
tinue to do so until early next year. 
This cut both ways : the Beacons- 
field technicians and general staff 
would continue until Ivanhoe came 
to an end and there was the chance 
of another long-range job being 
put on the floor, though no details 
wore available at the moment. 

" The meeting was held under 
the chairmanship of Herbert Smith 
with Les Gray as secretary." 

Priestley Judgment 

"... a great deal of nonsense 
comes out of TV sets. But a good 
deal of sense comes out of them, 
too, probably far more than most 
elderly lawyers imagine. And after 
all, much the same can be said of 
judges. A great deal of sense 
comes out of them, and so does a 
good deal of nonsense." — J. B. 
Priestlei/ in Retinoid* Y< ictt. 

December 1957 



Films in the Service of Industry 


THE Harrogate Festival was the 
first opportunity ever for spon- 
sors, producers and users of films 
for industry to meet, show one 
another their wares and discuss 
common problems. Among the 500 
or so attending were representa- 
tives from practically every pro- 
duction unit, from many official 
and other public bodies, from all 
the country's major industries and 
many of the lesser ones, and from 
several overseas companies. 

Other than ourselves, there were 
only four Trades Union delegates, 
from the T.U.C., E.T.U., NATKE 
and the Union of Post Office 
Workers. Officials of the National 
Union of General and Municipal 
Workers and the T.U.C. were 
among the speakers and the latter 
body was represented on the Coun- 
cil of the Festival and on various 
sub-committees. Of course, nearly 
all the delegates from the pro- 
ducing side were A.C.T.T. mem- 

Wide Range of Subjects 

Of some 330 films submitted, 131 
had been selected for exhibition. 
They carried the credits of 60 
separate units, and carried a wide 
range of subject matter, purpose 
and treatment and cost. In each 
of the ten categories into which 
they were divided, there were two 
awards to be won, and a list of the 
winners appears at the end of this 

Incidentally, it is a sad comment 
on the position of scientific train- 
ing and recruitment in British in- 
dustry that there were compara- 
tively few entries under the head- 
ing " For Use in Schools " and 
" Guidance on Careers " and that 
in these categories and that of 
" Technical and Technological " 
the juries found no film worthy of 
a second prize. 

Lord Mancroft, in a lively speech 
opening the Festival, had firmly 
suggested that " film making 
should be left to the professionals" 
and this advice was repeated by 
several subsequent speakers. There 
were, in fact, besides the work of 
contracting companies, and of full- 
time " internal units ", some ten 
films on view produced for indus- 
trial firms by their own regular 
staff. When available finance is 
small and intended audiences very 
limited, such productions may well 
be considered as complementary 
to, rather than in competition 

with, the work of professional 
technicians. Nevertheless, it will 
be interesting to watch the de- 
velopment of the move by Colour 
Film Services Ltd., to sponsor an 
association of bodies engaging in 
this sort of activity. 

Discussion Sessions 

The discussions sessions were 
perhaps the most difficult part of 
the proceedings to assess. The 
subjects chosen ("Productivity", 
" Public Relations ", " Technical 
Education ", " Sales — Home and 
Overseas ", " Health and Safety ", 
" Job Training " and " Distribu- 
tion") were in themselves interest- 
ing and important but offered too 
wide a scope to be dealt with ade- 
quately in a couple of hours, and 
this problem was accentuated by 
the number of platform speakers — 
usually four — at each session and 
by the restriction of the floor to 
questions rather than discussion. 

As a result, while the general 
exchange of views and information 
was useful, it was rare for any 
single point to be pursued to a 
satisfactory conclusion. 

Difficult to Assess 

One of the primary objects of 
the Festival, of course, was to 
spread the gospel of the film to 
sectors of the industry which have 
so far made little or no use of the 
medium. On this point, too, the 
results are difficult to assess with- 
out fuller knowledge of the 
interests represented, but it is 
obviously, in any case, not a short- 
term matter, and the very fact 
that a co-ordinated attempt has 
been made on the problem is itself 
a hopeful sign. 

At the close of the proceedings, 
delegates were asked for their 
views on whether the occasion 
should be repeated. It is our view 
that if the inevitable teething 
troubles mentioned above can be 
overcome, the event should become 
one of positive value to the 
specialised side of film making. 

The Winning Films 


1st Prize: Oil Harbour — Aden 

World Wide Pictures for George 

Wimpey & Co. Ltd. 
Producer: James Carr. Director: 

Derek Williams. 

Honourable Mention: Atlantic hint; 

Technical and Scientific Films for 
Central Office of Information 

Producer/Director: Jack Green- 
wood. Director of Photography: 
John Wiles. 


1st Prize: Introducing Telex 

R.H.R. Productions for Creed & Co. 

Producer: Ronald H. Riley. Direc- 
tor: Richard Tambling. 
Honourable Mention: Pipeline into 
Greenpark Productions for Costain- 

John Brown Ltd. 
Producer: Humphrey Swingler. 
Director / Cameraman: Roland 


1st Prize: Successful Instruction 

R.H.R. Productions for Army 

Kinema Corporation. 
Producer: Ronald H. Riley. Direc- 
tor: David Villiers. 
Honourable Mention: Safe Transit 
Pilot Films for British Transport 
1st Prize: High Speed Flight — Ap- 
proaching the Speed of Sound 
Shell Film Unit for Shell Petroleum 

Co. Ltd. 
Production Consultants: Film Cen- 
tre, London. Director: Peter de 


1st Prize: Mirror in the Sky 

Realist Film Unit for Milliard Ltd. 
and Educational Foundation for 
Visual Aids. 
Producer: Basil Wright. Director: 
Alex Strasser. 
1st Prize: Golden Minutes 

United Motion Pictures for Wolf 

Electric Tools Ltd. 
Producer: J. J. Sheppard. Direc- 
tor: Forbes Taylor. 
Honourable Mention: Demonstrational 
Harold Goodwin for the Gas 
First Prize: Don't be a Dummy 

Verity Films for Central Electricity 

Producer: O. Skilbeck. Director: 
J. Mendoza. 
Honourable Mention: Criticality 

Film Producers' Guild for U.K. 

Atomic Energy Authority. 
Producer: G. Buckland - Smith. 
Director: Bill Pollard. 
1st Prize : Golden Future 

World Wide Pictures with Film 
Centre for Transvaal and Orange 
Free State Chamber of Mines. 
Producer: James Carr. Director: 

Julian Spiro. 
1st Prize: Introducing Work Study 
World Wide Pictures for British 

Productivity Council. 
Producer: Hindle Edgar. Director: 
Clifford Parris. 
Honourable Mention: Think of the 
Halas and Batchelor Films for 
European Productivity Agency 
with Central Office of Information. 
Producer /Direct or: John Halas. 

(continued on page 174) 



December 1957 


Derek Whitehurst informs us 
that owing to an error on the part 
of the producers he did not receive 
the screen credits due to him as 
assistant director of Inside Infor- 
mation and The Case of the 
Smiling Widow in the Scotland 
Yard series made by Anglo-Amal- 
gamated at Merton Park Studios. 

The credits were inadvertently 
given to a previous assistant 

Derek Whitehouse took the 
matter up with the production 
company who apologised and con- 
tacted A.C.T.T. in order to give the 
Union the correct credit informa- 


Fred Tonge represented A.C.T.T. 
at a conference which was con- 
vened to attempt to work out plans 
for securing better support for 
Unity Theatre. 

There was an attendance of 
about sixty representing the Trade 
Unions, Political Parties, Co- 
operative Organisations and 

Two suggestions were made for 
improving the liaison between the 
Theatre and the Labour Move- 

1. A ))( -rmntu nt advisory committee 
consisting of representatives of the 
I in.i, Unions and Political Parties, 
with Co-ops, etc. 

2. Committee to meet at the start of 
each production to give pul>licitii 

Hi i mn/liiiiit /In Limdon Lalxnu 
and Trade Union movement. 

An appeal was made for more 
affiliations, to which the General 
Council has responded by affiliat- 
ing A.C.T.T. to Unity. 

Lab Topics 

Winning Films 


Honourable Mention: Mechanisation of, stO( I. Farm ing 
Kandom Film I 'i odu< t ions for Shell- 
Mi \ and B.P. Ltd. 

I'i -inlm-ei Direelor Pel el Mills. 

1st Prize Mi a mi tin Mi nd 

British Transom! Films for British 

Transport Commission 
I 'i odui « i Edgar Anstey. Direi 
tor: Kenneth Fairbairn. 
Honourable Mention: llemel Homestead 
Dexion Film Unit for Dexion I i 
Producer: Dr. Peter Cardew. 
I lirector [an MacPhail. 

W/E very much regret to 

" announce the death of Brian 

Bolt in New Cross Hospital on 
October 18th. 

Fred Cull, Shop Steward at Pathe, 
Wardour Street, writes: 

Brian Bolt was a very likeable 
personality who, through his un- 
failing friendliness to everyone 
was a popular member of the 
Printing Room staff. He was only 
twenty-four and he leaves a widow 
and a daughter some two years 

About eighteen months ago 
Brian contracted a serious illness 
and from that time onwards there 
began an unequal fight against 
failing health. Periods in hospital 
and attendances as an out-patient, 
interspersed with spells at work, 
stamped him as a fighter. Even 
when obviously extremely ill he 
still managed to laugh and joke 
about his misfortune. 


of the 


will be held on 
FRIDAY evening, DEC. 20th, 

at the 



He joined Pathe as a trainee, 
and, apart from two years in the 
R.A.F., he had worked con- 
tinuously for the firm, both in 
Wardour Street and at Elstree. 

Prior to his illness he had been 
very fond of sport, playing both 
football and cricket, and he was 
seldom, if ever, absent from a 
social function. 

For a time he acted as Branch 
Secretary and also as a member 
of the Branch A.C.T.T. Committee. 

Brian, who will be sadly missed 
by us all, was buried in Crayford 
Parish Churchyard. Among those 
who attended the funeral were 
Charlie Day, Bill Newman and 
Fred Cull from Pathe. 

Alec Garnett III 

We regret to announce that Alec 
Garnett, of Kays, and formerly of 
Technicolor, has been ill in hospital 
for over two months. We wish 
him a speedy recovery. 

Gay and Cynical 

" I see from the programmes of 
the new National Film Theatre 
that someone has dreamed up a 
new movement — 'Captive Cinema'. 
At last the film makers of England 
have a banner to which they can 
rally with a clear conscience.'' 
Lindsay Anderson in the .Ye if 
SI a 1 1 stna/n. 


LABORATORY SUPERINTENDENT (Film Processing) required by 
Federal Government of Nigeria for Film Production Unit, Information 
Service, on contract for 18/24 months in first instance. Salary according 
to experience in scale (including inducement addition) £1,170 rising to 
£1,488 a year. Gratuity at rate £150 a year. Outfit Allowance £60. 
Liberal leave on full salary. Free passages for officer and wife. Grant 
up to £150 annually for maintenance of children in U.K. Free passages 
for children up to cost of two adult return fares. (It is thus often possible 
for an officer whose children are being educated in the U.K. to arrange 
for them to spend two more school vacations in West Africa with free 
passages). Candidates must have a thorough knowledge of all aspects 
of cine film processing both 16mm. and 35mm., including negative cutting 
experience. The officer will be required to work with and take over, as 
required, from the officer in charge of the laboratories. Write to the 
Crown Agents, 4 Millbank, London, S.W.I. State age, name in block 
letters, full qualifications and experience and quote M3B/35002/CY. 

December 1957 



General Council in Session 


The General Council, at its 
November meeting, had before it 
the resolutions of a recent Shorts 
Section general meeting; the first 
sought a meeting with the Asso- 
ciation of Specialised Film Pro- 
ducers " to raise the question of 
consolidating the cost of living 
bonus into the basic wage rate." 
The Executive and General Coun- 
cil agreed to press for the meeting 
with the employers' federation. 

On the initiative of A.C.T.T. 
members at Rank Screen Services 
Local Filmlet Studios, the Section 
drew the Executive's attention to 
the fact that because Cartoon and 
Animation members have no equi- 
valent gradings in the B.F.P.A. 
Agreement, they do not enjoy any 
increases when doing TV or Adver- 
tising work, other than what is 
laid down in the A.S.F.P. Agree- 
ment; it was agreed, as a first step 
in overcoming this anomaly, to ex- 
plore the possibilities of incor- 
porating these grades into the 
B.F.P.A. Agreement with the 
Federation of British Film Makers 
and the B.F.P.A. 

TELEVISION: A drive to organise 
the I.T.A. Transmitters is being 
made and, when conditions permit, 
every effort will be made to organ- 
ise TV Shops in the B.B.C.; a 
special " B.B.C. Issue " of the TV 
bulletin would be prepared shortly 
after the one which was now at 
the printers had been sent out. 

Organiser Paddy Leech reported 
that a meeting had been arranged 
between representatives of the 
Union and Independent Television 
News to start talks on an agree- 
ment for the film side technicians 
who were at present covered by 
the Newsreel Agreement. 

The Organiser had visited Chel- 
sea Palace (Granada TV), where 
Shop Steward Mike Roberts had 
convened a meeting of members 
and where a considerable number 
of technicians had been recruited. 
An early meeting was sought with 
the Station Manager of Television 
West Wales to arrange for the 
National Agreement to apply to 
this station. 



detailed report of the last two 

meetings of the Committee was 
given at which draft notes pre- 
pared by Sir Robert Fraser on the 
British nature of television films 
had been considered. Sir Robert 
sought guidance from the meet- 
ings, and much progress had been 


following notice had been circu- 
lated by the B.F.P.A. and F.B.F.M. 
to their member companies: 

The B.F.P.A. and the Federa- 
tion of British Film Makers have 
agreed to recommend to their 
member companies that the 
Christmas Holidays for 1957 
should be Wednesday, Thursday, 
and Friday, 25th, 26th and 27th 

Employees who are required 
to work on Friday, 21th Decem- 
ber should be given a day off 
in lieu. 

Companies who implement this 
recommendation may wish to 
secure an undertaking from em- 
•ployees that, in return for the 
additional day's holiday on the 
Friday, a full day's work will be 
carried out on Tuesday, 24th 

The Executive asked that this 
matter be raised with the other 
employers' federations, and the 
General Council heard that the 
A.S.F.P. noted the B.F.P.A.- 
F.B.F.M. circular and would leave 
the matter to individual Shorts 

registered on the Union's Employ- 
ment Bureau as at 1st October, a 
decrease of thirty-nine compared 
with the September figure, though 
the Employment Officer, Bunny 
Garner, reported that the figure of 
unemployed had risen again since 
then. Eighty-six vacancies were 
filled by the Bureau during Sep- 


The F. & G.P. recommended that 
the office be authorised to deposit 
£1,000 with the Irish Ministry for 
Industry and Commerce, as a pre- 
requisite to having a branch of 
A.C.T.T. in Ireland, as required by 

Irish law. The General Secretary 
reported that an Organiser would 
be visiting Ireland within the next 
two or three weeks to investigate 
and report back to the Executive 
Committee on the proposed Irish 


agreed that a reasonable number 
of Indian technicians could be 
employed while the production 
Harry Black was on location in 
India for a period of eight or more 
weeks. The Company had given an 
undertaking that a full A.C.T.T. 
main shooting unit would be em- 
ployed on the location, together 
with an A.C.T.T. second unit of 
Lighting Cameraman, Camera 
Operator, two Focus Pullers, Clap- 
pers/Loader, Director, Assistant 
Director, Stills Cameraman and 
Location Manager. The second 
unit would be proceeding about 1st 
December and there would be the 
usual three-union location meeting 


ment, already accepted by a well- 
attended meeting of TV Producer/ 
Directors, was presented to the 
Executive which, after making 
certain amendments, decided to 
give detailed consideration to the 
draft at a subsequent meeting; the 
following Executive meeting spent 
the whole evening on this matter. 
Various deletions and amendments 
were agreed and it was also agreed 
that, prior to submitting it to the 
Programme Contractors, the 
amended draft should be approved 
by the General Council. 

The Council considered the draft 
agreement in detail and made a 
number of further amendments. 
The document was then unani- 
mously endorsed for submission to 
the employers. 


recommended and it was agreed 
that we affiliate to the Society for 
a fee of 10/6d. per year. This 
was agreed by the Council. 



December 1957 




pi;:- 4 

\ \3 


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• • 





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ami still spotless" 

Apply for free technical brochure 


Telephone: HUNter 0408-9 

Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
Square, London, and Printed by Watford Printers Limited, Watford. Herts. 

FILM and TV 


\T.T's 25 th Birthday Issue 




Association of < iikih.ii 
VoL 24 

No. 160 

allied Technicians 
PRICE 6d. 



May 1958 

Shell Films 

The Shell Film Unit was founded in 1933. Its documentary films are 
known throughout the world; more than 3,000 copies of current 
productions are distributed annually overseas. The majority are 
revoiced in more than a dozen languages. The Shell Film Library 
contains over 150 films covering not only every aspect of the oil 
industry but also many subjects directly or indirectly related to it. 

Song of the Clouds 

A colour film about world civil aviation and the far-reaching 
organisation on which it depends. 

Three recent Caracas 

productions An English version of a film made by the Shell Film Unit in 

Venezuela about life in the capital o( that country. 



High Speed Flight — 

Part 1 — Approaching the Speed of Sound 

An introduction to the problems of high speed flight. 



Shell films can be obtained on free loan by responsible organisations 
for showing to non-paying audiences in nearly ever) country in the world 
simply on application to the local Shell Company , or in Great 
Britain to the Petroleum Films Bureau, 29 New Bond Street, London, IV. 1. 

May 1958 FILM « TV TECHNICIAN fl» i»r oi Modm 


Wherever there's 
show business 



for know how 
and show how. . . 



May 1958 



welcome the opportunity to send 


to two hundred and fifty members of A C T T 

who at one time or another have given us their help 

The Companies in Membership 

of the 
Association of Specialised Film Producers 


Best Wishes to all 

Technicians engaged in making British Films 

May 1958 



The finest cranes are 


" Big Bill " camera crane 

Electrically driven and is suitable 

for black and white or colour 


Can be used with or without tracks. 

Easy to handle and can manoeuvre 

very easily. 

The turret head can operate through 

360 degrees. 

The lens of camera can be raised 

from 3' 6" to 16' 0". 

Requires only four men to operate it. 

"Academy " camera crane 

Electrically driven and adapted 

for TV. 

Can be used with or without tracks. 

It will pass through an average 

doorway 3' 6", and is driven by 

a HOv DC. 5 H.P. motor. 

Provides a lens height from 2' 6" to 

10' 6" from the floor. 

It can pann around camera axis 

340 degrees. 

" Baby " camera crane 

For black and white or colour 


Battery driven and can be operated 

in studio or on location. 

Can be used with or without tracks 

in the studio — providing 

the floor is in good condition. 

On location, tracks are a necessity. 

Small enough to be driven through an 

average size door. 

Improved turret head can operate 

through 360 degrees. 

Requires only two men to operate it. 

Enquiries to Miss M. Haselwood, Transatlantic Pictures Corporation Limited, 36 Golden Square, W.l. REGent 8080 



May 1958 


Associated-Rediffusion, as the pioneers of Independent 
relevision in Great Britain, have today, after only 
• ' yi .us. the leading tv facilities in the world. 

A mobile, miniature tv camera, nicknamed the 'Peepie- 
( Ireepie', is our latest piece of equipment. It can transmil 
from places hitherto inaccessible to a TV camera. 

As a result of up-to-date technique and equipment, 
we can transmit to the London area and the full ity net- 
work the best possible programmes both technically 
and artistically. 


pioneer the best TV techniques 

May 1958 








TELEPHONE: GERrard 0831-5 


Bob Betteley Eric Pask 

Eric Davidson Peter Pickering 

Langton Gould-Marks Sally Presley 

Francis Gysin Ken Reeves 

Rolf Hermelin W. Suschitzky 

Robert Kruger Derek Witham 

send their best Wishes and 

heartiest Congratulations 





A bolex h 16, two Kodak B cameras, G.B. 622 and 630 
projectors, with all lenses to 4 in., most in duplicate, a 9 -5mm. 
projector, an animated viewer, titlcr, recorder and various 
screens... This is one amateur's equipment, mentioned in the 
April issue of AMATEUR CINE WORLD. In the May issue : 
articles on making an electric motor drive for a Bolex tor less 
than 30s., and instructions for constructing a developing tank 
out of a vegetable rack and a waste bin 

It is this almost breath-taking variety which makes 
AMATEUR CINE WORLD such intriguing reading. And 
the professional film maker often finds interest and entertain- 
ment in this catholocity of approach, since it can keep him 
informed on aspects normally outside his province. 

Also in the May issue: full results (13 pages) of the 
Amateur Cine World Ten Best Films competition - the most 
famous amateur film contest in the world. 


National Film Theatre 

Part 1, 21st - 25th May; Part 2, 11th June - 15th June 

Seats 2s. 6d., 3s. 6d., 4s. and 5s. 

all bookable, from box office (WAT 3232) 

AMATEUR CINE WORLD, 2s. (over 100 pages) from news- 
agents and photographic dealers, is published on the 25th of 
the month from 46 - 47 CHANCE RY LANE ■ LONDON WC2 

2 I s 


May 1958 



20 Kw Studio lamps 

The new Mazda 20 Kw. Studio Lamp is now available for 
immediate delivery ex stock. This lamp has been 
designed in conjunction with Mole Richardson for use 
in their studio spot and floodlight housing. 


The Mazda 20 Kw. lamp is supplied for it <: . 
operation and is also available for 2301., 240V. 
and 250V. supplies. Ir provides light a! 3250 K 
and is an addition 10 the range of 2 Km., 
5 K. i. and to Kw. Mazda Studio Lamps. 



May 1958 FILM & TV TECHNICIAN 249 

1896- u (£)> -1958 

Csor b2 years we hare been making L. inematoora/m C cfuifiment 
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something about it thai readily identifies it as oeino of liloy 

(_Jlus we hare always accepted as a compliment, of which, c/iute 
frankly, we are rather foroudi and our constant endeavour will be to 
lire up to this longstanding reputation for many years to come. 






takes this opportunity oj extending to all its 
Friends in the Industry 









May 1958 

The Single-lamp Technique — 








The Hen MR Typi 20,000 20kw Studio Illuminator, with rear- 
opening lamphouse, 24-inch lens and sound-proofed blower to stop 
bulb blistering. The whole lain /mouse slays cool to the touch. 

Look at these Features: 

1. Scientifically designed ventilation natural convec- 
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2. Simplicity of opening even when at an angle of 
45 deg. 

3. No danger of damaging bulb when removing for 

4. Easy access to all moving parts. 

5. At-a-glance examination of bipost contacts. 

6. Contacts fully floating yet bulb rigidly held in 
focal position at all angles. 

More and more the technique of 
studio lighting veers towards the use 
of a single lamp as the main source. 
Only by this means is it possible to 
secure correctly lit studio exteriors. 

During the last six months over 100 
of the new M.R. 10 k.w. lamps have 
been supplied. We now offer a lamp 
specially designed for this technique 
—the Type 20,000 20 kw. 



7. More robust easy maintenance. 

8. New style finish. 







\IK Typt 10,000 RO \0k« Studio Illuminator, also 
with rear-opening lamphouse and with 20-inch lent. 


CHASE ROAD, LONDON, N.W. 10 . ELGar6834 . Cables: Molereng, England 

Branch Companies in PARIS. ROME, MADRID. MUNICH 

Agents and Representatives in many other countries 

May 1958 





Anthony Asquith 

\ DELIGHTFUL old lady I knew was left to play 
with a small boy of four by his mother who 
murmured apologetically something about his being 
" very young ". The boy overheard the words and 
was puzzled by them. " Are you very young too? " 
he asked my old friend. " Yes," she answered, " but 
I've been very young for a very long time." 

To be able to say this with perfect truth, as she 
was, seems to me a most desirable thing not only 
for people, but for organisations. The recent dupli- 
cation of its final " T " ensures that A.C.T.T. 
remains the youngest union affiliated to the T.U.C. 
But even without the help of our splendid new tail 
feathers, we have been very young for twenty-five 
years — a respectable span in the life of any union. 
And I think we can claim without immodesty that 
we have stayed young without ceasing to grow with 
extraordinary rapidity in physical strength, but also, 
I believe, in the capacity which is the fruit of the 
ability to learn from experience. 

Our is not — and must never be — the youth of 
arrested development, where a huge unwieldy body 
pathetically and flabbily encases a pin-head of 
intelligence. Nor, when the next twenty-five years 
have passed, may our youth have become that 
" second childhood " due to the hardening of the 
imaginative arteries, which springs from the meticu- 
lous preservation of the letter of tradition, without 
in the least understanding their spirit or intentions. 

A living tradition is ours which continuously re- 
news and changes its outward expression. It is an 
oxygen tent not a strait-jacket. There is nothing 
more tragic, than when a living stream is fossilized 
into a stalagmite. It may be beautiful but you can- 
not drink from it. 

Now I do not believe that A.C.T.T. is in danger of 
its youth suffering from either of these perversions 
as long as we remain what our title proclaims us 
to be, an association of technicians, a comradeship 
of craftsmen, each of whom in his own way is con- 
tributing to produce the same unique thing. It is 
true that our " end-product " may fall into many 

different categories, ranging from the three-hour 
feature film to the thirty-second advertisement 
" snip ", from the full-length television play to the 
usually depressing weather forecast. But all these 
have one thing in common — visual and aural com- 
munication, indeed our craft, and only ours, is con- 
cerned with the most powerful and, with the 
possible exception of music, the most universal 
medium of communication yet devised by the mind 
of man. 

Because of this, as a Union we bear a double 
responsibility — a responsibility to our members for 
their pay, their conditions of work and their general 
well-being, and a responsibility to our craft and, 
through it, to Society as a whole. The value of our 
end product varies as greatly as the forms it takes. 
Very occasionally we produce something which can 
justly claim to be a work of art, something, that is, 
which is of lasting value. Quite often we produce 
good entertainment I in case of misunderstanding 
I would like to emphasize as strongly as I can that 
I believe the common distinction between art and 
entertainment to be utterly false. A work can be 
entertaining without being a work of art, but no 
work can be a work of art without being also 
entertaining. The difference is that the passage of 
time does not diminish, it may even increase, the 
power of the true work of art to entertain, i We 
also produce works which, though essential, are by 
their very nature of only temporary significance, 
news items, topical discussions, etc. And alas ! we 
also produce a large amount of unspeakable tripe. 

As an individual craftsman, it must be the 
pride of each of our members to do his particular 
job as well as he can. But as a union it should 
just as surely be our duty, not only to safeguard 
and enhance the material well-being of our members, 
but to use all our influence to see that their skill is 
used on something worth doing. This has always 
been a guiding principle in A.C.T.T., and as long as 
it remains so, I believe that we will, in the best 
sense of the word, go on being very young for a 
very long time. 

Sir Michael Balcon on Features . Page 252 Desmond Davis on Television . . Page 268 

Thorold Dickinson on U.N. Films Page 265 Bert Craih on the Laboratories . Page 271 

Sir Arthur Elton, Bt., on Documentary . Page 262 


Along the Mole troops, waiting evacuation from Dunkirk, press back OS 
the wooden structure disintegrates 





" Wc ntuxt reconsider out whoh 

approach to film production in 

rt !at i"ii to content." 

THE Association's 25th anniver- 
sary has an especial interest for 
me since, although my own film 
career is longer, it so happens that 
the life of the A.C.T.T. corresponds 
to some extent with what I might 
call the second stage of my in- 
dustry life — the period with 

I am asked to write, however, 
about the development of feature 
films during the life of the Asso- 
ciation, which means that I am 
dealing also with that period of 
about five years before I joined 

Well — 1933 was a period of high 
hope. Under the aegis of Mr. 
Isidore Ostrer and his brothers, the 
activities of the then Gaumont- 
British Corporation were of an ex- 
pansionist nature in that the new 
additions to Shepherds Bush 
Studios had been completed and 
we were embarking on a large pro- 
gramme of films with which we 
aimed to conquer the world's 

It i.-' perhaps Interesting to re- 
member that at that time there 
were not nearly enough trained 
technicians In the country. But we 
had no difficulty in importing first- 
class men from the United States 

and from Europe 1 1 have in mind 
such outstanding technicians as 
Georges Perinal. Max Greene, Glen 
McWilliams, Otto Ludwig. Gunther 
Krampf and many others) and I 
think we must, to some extent, be 
grateful to them for helping to 
train some of the British personnel 
who were to become the backbone 
of our industry. Early apprentice- 
ship schemes were also established, 
including classes at the technical 
school near the studio, principally 
for the training of make-up artists. 

They were in some respects good 
days and, on looking back, I re- 
member with affection such films 
as Jack's tin Boy, Man nf Aran, 
Rome Express, Tin Midshipmaid 
and The Good Companions. 

Alas, our fondest hopes w< i 
dashed to the ground. We failed 
to conquer the American market 
and round about 1936-37 we were 
faced with one of our earlier crises 
The pity of it was that this was m 
some respects a vantage period for 
British films, with stars like Jack 
Hulbert, Cicelj Courtncidgc. 
Conrad Veidt, Jessie Matthew.-'. 
Tom Walls — to mention but a few 
— at the peak of their success. 

There is no doubt that since its 
foundation the Association has 

May 1958 



done a great deal for the working 
conditions of its members, but I 
hope I am not committing a heresy 
in saying that up to 1933 (the year 
your Union came into operation) 
and in fact in the immediate years 
following we did not really have 
much cause to grumble at our lot 
at Shepherds Bush. 

All was not well, however, 
despite the excitement we felt 
about our work in those days. We 
had not made the progress we had 
anticipated in the creation of a 
native school of film production. 
Many of the films (with notable 
exceptions, of course) even if they 
were not slavish copies of the 
American type of picture, could 
have been better made in Holly- 
wood. There was even a period 
when we fell for the idea that the 
importation of American stars, 
directors and American-type 
stories would somehow provide the 
necessary ingredients for conquer- 
ing the American market and pro- 
ducing vast revenues. It was a 
mirage — nor did we make any 
great impression in any market 

Their Own Idiom 

It was not until the war period 
that the British feature films began 
to express themselves in their own 
idiom (the British documentary, to 
its everlasting credit, had already 
done so, and I still look upon the 
work of the early documentary 
units as being the greatest single 
influence in British film produc- 

Naturally one thinks back on 
one's own work, and the immediate 
post-war years at Ealing Studios 
were spent under ideal working 
conditions, and produced, I think, 
not only a typical Ealing picture 
but something that was indigenous 
in its conception — and proof posi- 
tive of your President's belief that 
the truly international picture is 
the film of national appeal. 

We are always hearing about 
crises in the film industry. Each 
one I have experienced in more 
than thirty years in the business 
has been heralded as another nail 
in the industry's coffin. Each time, 
however, the film industry has 
risen again and found a fresh and 
stronger voice in the world. 

As I look back over the last few 
years — and I recall that there was 
yet another " crisis " in 1949 — I 
must say that I consider some 
ground has been lost in feature 
film production. Although for 
some time we have been facing 
falling returns, the inflationary 
pattern in production still con- 
tinues. In fact there is some 

parallel with the situation in 
America, described not very long 
ago by a well-known commentator 
in these words : " The motion 
picture industry has functioned 
without noticeable adjustments to 
economic realities . . . for four 

In a sense, of course, the end of 
the silent picture was the end of 

to the shorter working week) but — 
and this is infinitely more impor- 
tant — in relation to content. 

We must realise that we have 
a different, younger population 
who are intelligent and capable 
enough to respond to our films pro- 
vided we deal with subjects that 
are of vital importance and in- 
terest to them. 

Sir Michael Balcon, producer of " Dunkirk ", chats with director 
Leslie Norman and star John Mills 

an era and it may well be that we 
are moving into something of a 
similar nature today. 

There is much adjustment which 
needs take place and much of it 
is self-adjustment. It is no use our 
saying that the responsibility for 
our present troubles lies exclu- 
sively with television or the ex- 
hibition or distribution side of the 
film industry. Although many 
changes must inevitably take place 
there, we must be thoroughly intro- 
spective and see what we ourselves 
can do. 

The easy solution is not the em- 
ployment of gimmicks, whether in 
the technical developments of 
screen dimension or negative size, 
or the production of horror or sex 

We must reconsider our whole 
approach to film production not 
only in relation to shooting 
schedules (which in the lifetime 
of the Association have increased 
in many cases far out of proportion 

Much has happened in these 
twenty-five years. We have seen 
the gradual concentration of film 
production in the four main studio 
centres, Pinewood, Shepperton, 
Elstree and Boreham Wood, and in 
the more recent years, the signifi- 
cant development of Anglo-Ameri- 
can production. 

We have seen also the establish- 
ment of the National Film Finance 
Corporation and a statutory pro- 
duction levy. During the life of 
the Association taxation on the in- 
dustry has developed from the 
punitive to the lethal; and, to his 
everlasting credit, John Davis for 
the first time in British film history 
has built up a world selling organi- 
sation of significant proportions. 

We have witnessed the develop- 
ment of another great medium of 
mass communication and enter- 
tainment. I would not, however, 
like to forecast the pattern of film 
production over the next twenty- 
five years ! 



May 195S 



A film iij the Expedition 
t urn iiii.s.snuii il hit the 
linlish Petroleum Co. 
Ltd. is being made by 
World Wide Pictures 
and will be ready for 
showing m the autumn. 




On Right: "LAB TOPICS" 

May 1958 



*^; : |fc^ 



Pictures by courtesy of the Trans-Antarctic 



May 1958 

Pattern for the Future 


I DOUBTLESS because he is aware 
'-'of the thin dividing line be- 
tween dotage and anecdotage, the 
Editor suggested I might in this 
article look forward rather than 
backward, leaving review of the 
past twenty-five years to other 

The only major change in the 
pattern of our Union over the past 
quarter of a century has been the 
development of television and the 
slight shrinkage in the influence 
of feature film production. Where- 
as in the early days our member- 
ship was primarily composed of 
technicians engaged in feature 
films, their numbers now are only 
about one-sixth of the total. 

Expansion of Documentary 

There has been expansion on the 
shorts and documentary side pri- 
marily due to development in the 
non-theatrical use of films, and 
there has, of course, been an ex- 
pansion in our laboratory section 
which we started to recruit a year 
or so after we were formed and 
which has subsequently become a 
very substantial proportion of our 

There has, on the other hand, 
been a shrinkage in newsrecl mem- 
bership as a result of the virtual 
demise of two of the five News- 

This year's Annual General 
Meeting is the first year when all 
these varying changes have be- 
come really noticeable. I don't 
think it needs a very accurate 
crystal ball to prophesy that 
twenty-five years hence there will 
be many more shifts of balance 
within the Union by reason of 
changes in films and television 
than there have been in our first 
twenty-five years. 

For a start, unless they wake up 
their ideas and put out pro- 
grammes which the public will 
clamour to see, it is virtually cer- 
tain there will be no cinema news- 
reels twenty five years hence and 
this is almost sure to have some 
repercussions on the laboratory 

side particularly in those labora- 
tories which do newsreel work. 

On the other hand, there may 
well be a development in television 
newsreels and therefore within the 
union as a whole the shake up may 
not be very substantial. Although 
here, too, recent developments 
such as tape recorded television 
indicate that television newsreels 
may function without the neces- 
sity of laboratory processing. 

We are certain, of course, to 
have developments and expansion 
in television and it is likely that 
before long the Government of the 
day will introduce legislation to 
establish competitive television 
channels. Whether they will be 
administered by the B.B.C. or by 
Independent Television or by some 
new third body is much more 
problematical. But in any case we 
can look forward to an expanding 

Must Wake Up 

The cinema side is much more 
problematical but I am not one of 
those Jeremiahs who foresee the 
demise of the cinema in favour of 
television, as at least one Govern- 
ment spokesman who recently re- 
ceived a deputation from A.C.T.T. 
seemed to do. At the same time, 
unless the film industry wakes up 
its ideas it is sure to go through 
continuing difficulties despite the 
tax relief granted in this year's 
budget and, we hope, the com- 
plete abolition of th< tax next year 
if it cannot be forced through 

But while tax relief, or prefer- 
ably abolition, for which we must 
continue to fight, will mean the 
removal of a great injustice for 
the film industry, that by itself 
will not necessarily lead to any 
benefits either to the public, to 
production as a whole or to the 
employees in the industry. If, as 
our President said in his Address 
to the Annual General Meeting, 
tax relief is used simply to bolster 
profits or buttress losses we are 
merely putting off the evil day 

when a large shake-up must take 
nlace in the British film industry. 

Cinemas, if they are to stay in 
business, must be modernised and 
those who control production 
must stop playing fast and loose 
with the livelihood of their em- 
ployees and settle down to a broad 
expansionist policy. 

The present crisis is a challenge 
to British producers. While re- 
turns generally are down it is 
significant that British films con- 
tinue to attract more money to the 
box office than foreign films. 

Expand Production 

One of the steps which should be 
taken in order to overcome the In- 
dustry's difficulties would be an 
expansion of production instead of 
the foolish contraction which re- 
cently took place in certain 

One thing is certain, though 
some people do not appear to 
appreciate it, namely, that unless 
films are made and made available 
for showing, nothing on earth will 
attract the public back to the 

An analysis of the output of the 
leading directors of the British 
film industry would show that, 
through no fault of their own. 
then output is at a very much 
lower level than that of leading 
directors in other countries. There 
is an obvious case in point. At the 
very time when our own Presi- 
dent's last film, Orders to Kill, was 
being acclaimed and indeed re- 
ceiving rave notices in the British 
press, his employers were busy 
cancelling his next production, an 
experience which he and other 
leading directors have suffered all 
too frequently in recent years. 

We must stop for all time this 
sorry business of British produc- 
tion being used as a pawn in the 
game which cinema owners play 
with the Government and others 
on whom they wish to exert 

At times 1 almost despair of 
British exhibitors acting intelli- 

May 1958 



gently. It was Sir Alexander 
Korda who said years ago that no 
film has ever earned its full poten- 
tial from the box office. How 
right he was. Exhibitors continue 
to have this silly policy of films 
running for one week or three days 
and seldom longer because of an 
antiquated booking policy. 

Why is it, for example, that in 

As a leading projectionist said 
at a recent inter-union meeting, 
a few are quite happy to drop out 
reels two and seven of a support- 
ing film in order to make sure that 
nothing interferes with their 
slavish adherence to such time- 

Why is it that apart from the 
development in the sales of ice 

other when one of the major cir- 
cuits has an outstanding film the 
other circuit also has to show a 
real top-notcher so that, as mem- 
bers of the public have said to me, 
it is impossible to plan one's 
cinema going. One has to go two 
or three times in one week in a 
month and then may very well 
wish to skip the remaining weeks. 


IS" I to -HH^r 

Qeriificttit of Registry of Trad* I 

it i< \wu 

tifteci that +kr? 

hi Trade ! 

{ 1 J;\ ( .7 i i O ■ 


Register No. ! 1%£ '! 



11 f 

10 33- 

Copy h ■ : 

f\ / 

The official entry recording the foundation of the Union 

(Jhhj K-'j) ■>'■■(' , 

the large seaside towns where the 
public is changing each week 
throughout the summer we can 
have plays and variety pro- 
grammes running unchanged 
throughout the whole season, 
whereas the same treatment is 
seldom accorded to a film ? 

Why is it that cheap morning 
matinees which were quite a 
feature of film exhibition in Lon- 
don and similar large cities before 
the war are no longer operated? 
If the answer is financial, why 
aren't other means sought to cater 
for those numerous members of 
the public who cannot go to the 
cinema in normal times because 
they are working? 

Why is it that exhibitors 
slavishly stick to their routine of 
opening and closing times? 

cream nothing has been done in 
recent years to help attract 
patrons back to the cinemas ? Why 
is it that, so many a parent tells 
me, films at school holiday times 
are frequently of such a character 
that children cannot go to them 
or at least have to be accompanied 
by adults? Surely cinemas can 
find out intelligently in advance 
what the school holidays are and 
plan their programmes accord- 

Why is it too that if by reason 
of diabolical weather or some 
other special cause a film which 
is expected to attract the crowds 
has a rough time on its first time 
round such film seldom comes back 
again to catch the public which 
under normal circumstances it 
would have had? Why is it, too, 
that in order to compete with each 

Members can, I am sure, think 
of many other examples of unen- 
lightened policy of the cinema 
owners and the first thing they 
must learn if they wish to stay in 
business is that they must com- 
pletely reorientate their ideas. 

There is another point which 
needs airing. The National Film 
Finance Corporation has rendered 
valuable service to British Film 
Production and indeed without it 
there would be no independent pro- 
duction today. Now it seems to be 
getting in a groove. On a short- 
term basis it seems to be running 
out of money and unless the 
Government acts quickly, the 
N.F.F.C. may not be able to 
finance all the worthwhile inde- 
pendent productions which it 

(Continued on page 259) 



May 1958 









I //'//'////////' //.J 


C // //' /// 


////// V /.;///// 



May 1958 





would wish to finance in the near 
future. On a long-term basis it 
should have both sufficient capital 
and powers to act as a kind of 
cushion to the vicissitudes of pro- 

Whenever there is some tempor- 
ary crisis in films that may be 
caused by outside dictates over 
which it has no control, for ex- 
ample, the recent changes in the 
Bank Rate which have added 
burdens to independent producers 
and indeed to the bigger com- 
panies as well, it is surely the job 
of the N.F.F.C. to buttress produc- 
tion to make sure that the in- 
dustry is able to overcome such 

Target for Industry 

What I would like to see is some 
kind of annual budget or target in 
which the industry sets out to 
make a stipulated number of 
films each year, preferably on 
a rising scale. It should be a 
prime job of the N.F.F.C. to play 
a prominent part in ensuring that 
such a target is met. It should 
also have power to take over pro- 
ductions which, whether for wise 
or foolish reasons, are about to be 
cancelled by producers so that we 
avoid the sort of experience which 
has been suffered at Pinewood 
recently, when no one has known 
whether the productions on which 
they commence work were likely 
to be completed or not. 

There is another aspect of the 
future to which we shall have to 
give considerable thought long 
before the next quarter of a 
century has expired. The British 
Government is shortly entering 
into discussions with European 
Governments on the part which 
films could or should play in a 
European Common Market. 

A.C.T.T. has not yet discussed 
this and I would not like to pro- 
phesy what its attitude would be, 
but I anticipate it will be along 
the lines that, while it would wel- 
come co-operation between the 
British industry and continental 
industries to protect and help each 
other, it would strongly oppose 
any move which would seek to re- 
place British film production by 
continental production or by co- 

I have talked to many people 
both in France and Italy on the 
co-production scheme which has 
operated between those two 
countries for the past few years. 

The scheme got off to a good start 
and it is possible there was initial 
expansion of production in both 
countries, but now there are many 
in those two countries who are 
opposed to it, partly because the 
concentration on reduced pro- 
duction costs, upon which emphasis 
has been laid in the schemes, has 
not led to the production of either 
outstanding films or indeed films 
which have managed to recoup 
their cost of production. False 
economy in production is no econ- 
omy at all. 

It is quite clear, too, that only 
certain types of stories are suited 
to co-production and even then 
there has to be meticulous care in 
all facets of making the film itself. 
We must at all costs avoid making 
films the object of which is, for 
example, simply to substitute 
French for British labour or 
British for Italian labour, irres- 
pective of the story to be filmed. 

On the other hand some form of 
European Common Market would 
be worthwhile if it were used to 
stimulate development of native 
productions in each country and to 
restrict the amount of screen time 
which is at present commandeered 
by American productions. 

Must Co-operate With TV 

Above all, films must reach a 
modus vivendi with television. It 
is significant that, after the initial 
hostility of films to television, a 
number of the leading film 
interests are now directly con- 
cerned in operating television 
stations. As long as we realise 
that basically the type of pro- 
duction which is most suited to ex- 
hibition in cinemas is not the type 
of production which is best suited 
to the television screen there is no 
reason at all why there cannot be 
fruitful co-operation between the 
two media. 

Turning to television, the future 
is far less uncertain. As long as 
the public continue to buy tele- 
vision sets in increasing numbers 
so we are almost sure to have an 
expanding industry. But it is 
equally certain that when sets 
have been acquired, and paid for, 
the public are likely to be much 
more discriminating in what they 
see on television and some of the 
lessons of the past few years will 
have to be learnt if the public is 
still going to look to television as 
one of its main sources of enter- 

Some of the pitfalls were dis- 
cussed and received headline pub- 
licity at our last Annual General 
Meeting and I need not therefore 

go into them here. But in my 
view it would be wrong when we 
have another competitive channel 
to act on the assumption that the 
B.B.C. should operate as a Third 
Programme for Television, and 
that the I.T.A. should be regarded 
as comparable to the Light Pro- 
gramme in Radio, leaving the new 
channel to operate a kind of Home 

The only way to get the best 
service available to the public and, 
indeed, to give technicians every 
opportunity to do justice to them- 
selves is to have networks which 
are completely competitive in all 

May I in conclusion say just a 
few words on the past quarter of 
a century within A.C.T.T. It has 
been an exciting twenty-five years, 
and fruitful in many ways. On 
more than one occasion, and par- 
ticularly at the outbreak of war, 
it was the trade unions who were 
in the vanguard of the fight to pre- 
serve the industry. With all due 
modesty we can say that the size 
and importance both of British 
films and television today are in 
some measure due to the success- 
ful struggle which has been carried 
on over the years by our own 
Union and others operating jointly 
with us. 

We have naturally enough been 
at all times mindful of the jobs, 
salaries and working conditions of 
our members, but we have equally 
tried to be farseeing on the 
broader issues and we have lost no 
opportunity in advocating pro- 
posals designed to foster the well- 
being of British films and British 

May Unity Continue 

We have built up our member- 
ship from a handful of pioneers to 
nearly 8,000. We have developed 
from an unorganised rabble to a 
cohesive and strong force. We 
have seen the conditions of em- 
ployment of our members advanced 
from terms which were scandalous 
into Agreements which are as good 
as those held by any other British 
trade union. We have developed 
from a collection of individuals un- 
used to organisation and inexperi- 
enced in how to go about improv- 
ing their lot into a trade union 
which is as strong, even if numeri- 
cally small, as any other collection 
of employees in Britain. And in 
making this progress we have 
managed to retain that degree of 
unity and sense of comradeship 
which should pervade the trade 
union movement. May it always 
be so. 



May 1958 

1933 June 21st 

A.C.T. formed. 

1934 January 

George Elvin appointed General 

1935 May 

First number published " Journal 
of the Association of Cine-Techni- 
cians ", now " Film & TV Tech- 
nician ". 

193(5 December 

First industrial agreement signed. 
Negotiated with Gaumont-British 
Picture Corporation (Shepherds 

1937 May 

Anthony Asquith first elected 

1938 April 

New Cinematograph Films Act 
(Quota Act) in which union policy 
reflected in minimum cost clause, 


Some A.C.T.T. Highlights 

fair wages clause, and general pro- 
visions fostering British produc- 
tion as a result of mass lobbying 
and other trade union intensive 



1939 February 

First major agreement signed. 
With Laboratory Section of the 
Film Production Employers' 
Federation (forerunner of the Film 
Laboratory Association). 


Intensive activity with other Trade 
Unions and producers to preserve 
industry (which Government 
planned to scrap) and ensure it 
played a full part in war effort. 


Arrangements made to staff Ser- 
vice Film Units with A.C.T. mem- 
bers who, it can now be revealed, 
were released from Church Parade 

to attend Trade I'nion meetings. 

1942 September 

First Agreement with Association 
of Specialised Film Producers. 

1943 January 

First Agreement with British Film 
Producers' Association. 

1944 September 

First Agreement with Newsreel 

1945 September 

National Arbitration Tribunal 
awards in favour of A.C.T. follow- 
ing thirteen weeks' dispute with 
Film Laboratory Association on 
terms of new agreement. Sub- 
stantial wage increases and im- 
proved working conditions laid 

1946 March-April 

Repair and Despatch Strike. 

1947 June 

Demarcation Agreement signed 
settling long-standing differences 
between A.C.T., E.T.U. and 

1948 April 

New Cinematograph Films Act in- 
corporating progressive improve- 
ments on previous Acts. 

May 1958 



19-49 December 

Short-lived Joint Industrial Coun- 
cil formed between B.F.P.A., 
A.C.T., E.T.U., NA.T.K.E. 

1950 May 

Formation of A.C.T. Films Ltd., 
the first film production company 
in the world owned and operated 
by a Trade Union. 

1953 November 

Parliament approves introduction 
of commercial television. 

1951 January 

Mass trade union demonstration at 
Wyndhams Theatre to focus 
Government and public attention 
on plight of British film production. 

1952 February 

End of an era. A.C.T. fails to pre- 
vent Government abolishing Crown 
Film Unit (formerly the G.P.O. 
Film Unit). 

1954 March 

Laboratory Lock-out and Strike. 

1955 April 

Strike to force A.C.T. recognition 
in commercial television. 

1956 March 

A.C.T. becomes A.C.T.T. 


1957 August 

Agreement signed with Pro- 
gramme Contractors' Association 
on behalf of technicians employed 
in commercial television. 

1958 21st June 

25 TODAY ! 

Illustrations by Land 


Cinerama — CinemaScope — 
Todd AO - - Miraclescope — you 
think you've heard them all? Well 
I just read about one you haven't. 
SCOPE (pronounced Schock-he- 
you, I presume). Its a Japanese 
process. What's it like? Don't 
ask me, go and see Chased, billed 
as " Would she give up her hus- 
band to be a murderer's sweet- 

heart?" when and if it gets to 
your local. 


" To my mind the film is far 
more important than the ' Daily 
Telegraph ', or ' The Times ', or 
' Daily Express '." — Sir Henry 
French, quoted in the Journal of 
the British Film Academy. 

The fourth Soho Fair will take 
place this year, starting on July 




'Twixt a print from a dupe and a 

dupe from a dupe 
The difference is vast, 
And complications do ensue 
If the original is masked. 

By printing from an unmasked 

With geometry reversed 
You get a print the wrong way 

Projecting it head first. 

To overcome this paradox 
You print it cell to cell, 
Reversing it from left to right 
And upside down as well. 

By then of course the perfs will 

The wrong side of the frame; 
And so you show it back to front, 
It comes to much the same. 

To make it clear, you mask the 

And dupe it cell to light, 
Reversing it from head to tail 
To make it come out right; 

Remembering to compensate 
For difference in sync. 
By moving down the S.S. mark 
by fifteen frames — I think. 

The second generation print 
Will now be mirrorwise, 
That is to say, inverted, but 
If I may just reprise — 

Just mask the print and print 

the dupe 
And dupe it with the track — 
A masked masked print of an 

unmasked dupe of a master 

you'll get back — 

And when all's done and back it 

And it's shown upon the screen, 
No matter how you've done the 

How careful you have been. 

Though you have not made one 

Accept this with a shrug — 
The print you see will be N.G. 
Because of flutterbug. 

E. Davie s 



May 1958 


"The Gas Turbine", a Shell film directed by Peter de Xormamille — 
diagram of a Turbo-jet 

Years of Documentary 

A S a recognised movement with 
-'*■ aim and purpose, documentary 
began in 1929 with John Grierson's 
Drifters, screened for the first time 
at a Film Society performance as 
a curtain raiser to Potemkin. Its 
success decisively affected national 
film policy thereafter. 

Drifters and the documentary 
movement came out of the econ- 
omic situation of the early thirties. 
The Empire was turning into the 



it came to endorse John Grierson's 
theories of the creative interpreta- 
tion of actuality and his belief 
that, if only one could see clearly 
enough and sympathetically, the 

" Kiihaiiliram ". produced for Burmah-Shell bj lliiiiuar Publicity — 
classroom in Indian communi(> school 

Commonwealth, a change which 
became inevitable as soon as inter- 
Empire protective tariffs were 

The Empire Marketing Board 
was set up to do something to 
soften the blow by persuasion and 
publicity. One of its jobs was to 
knit together the peoples in the 
British Commonwealth. A good 
way of doing this seemed to be 
by the film. That is why the 
Empire Marketing Board has such 
an intimate connection with the 
history of documentary, and why 

humblest and the dullest occupa- 
tion could be made as romantic as 
the dare-devil exploits of a cow- 
boy. No greater drama could be 
found than the drama of social 
and technological development 
and change. 

The birth of documentary was 
not without pain, for the old 
Empire school of propagandists be- 
lieved, with dying vigour, in a type 
of propaganda Kipling and Kit- 
chener would have endorsed. As a 
result, two films were commis- 
sioned by the EMB simultaneously 

in 1928 — Creighton's One Family, 
about a little boy who went to 
Buckingham Palace to pull the 
plums of Empire out of a Christ- 
mas pudding; and Drifters, a 
study of North Sea fishermen. 

One Family died an immediate 
death in the Palace Theatre : 
Drifters became famous overnight. 
Shortly afterwards, Grierson's 
EMB Film Unit was called into 
existence by Sir Stephen Tallents, 
and the first documentary films 
made their appearance: O'er Hill 
mid DaU , Shadow on the Moun- 
tain, The Other Half of the World, 
Industrial Britain, Upstream, 
Aero-Engine and an odd little com- 
pilation called Conquest. 

It was a time when, to many 
people, the entertainment cinema 
seemed more than usually jejeune, 
so to the movement were attracted 
not only a group of young film 
makers, among others Basil 
Wright, Stuart Legg, Edgar 
Anstey. Paul Rotha. Harry Watt, 
Donald Taylor, Marian and Ruby 
Grierson, John Taylor, and J. D. 
Davidson, but also young writers, 
poets and musicians, including 
W. H. Auden. Benjamin Britten 
and Walter Leigh. 

Cavalcanti came to us from 
France and in a year or two 
taught us more about cutting and 
the presentation of our material 
than we should have learnt by our- 
selves in a month of Sundays. Bob 
Flaherty rampaged over the Mid- 
lands and, seen through his eyes, 
the Black Country took on a beauty 
of its own. Much later Carl Dreyer 
came to us from Denmark and 
made his own special contribution 
to the script of North St a. 

When the Empire Marketing 
Board was scrapped. Tallents 
moved over to the Post Other, at 
that time the only Government 

May 1958 



department, except the Ministry 
of Labour, in intimate contact 
with the public and suffering from 
a surfeit of public disfavour. He 
took the EMB Film Unit with him 
and renamed it the GPO Film 
Unit. From it stemmed another 
famous series of films : Night 
Mail, 6.30 Collection, Weather 
Forecast, Under the City, The 
Copper Web, North Sea, and a 
score of others. The gas industry, 
locked in combat with electricity, 
took the film under its wing and 
gave us Housing Problems, Enough 
to Eat and Children at School. 
Tea brought Song of Ceylon. The 
BBC gave us BBC — The Voice of 
Britain, and the Ministry of 
Labour, Men and Jobs. 

The Shell Film Unit was founded 
in 1933 and early undertook a pro- 
gramme of films on physics and 

It is often supposed that the 
term "documentary" applies to a 
technique of film making. It does 
not. It refers to a point of view 
on the part of the maker. It hap- 
pens that films fitted this point of 
view peculiarly well and became 
its principal instrument of expres- 
sion. A decade earlier radio might 
have been the choice. Twenty-five 
years later it is no accident that 
John Grierson is conducting a TV 
programme in Scotland. 

The job of the original documen- 
tary film makers was to bring 
alive the world around them at a 
moment of ferment engendered by 
the rise of social democracy as we 
know it today. So the subject 
matter of many of the films was 
found in housing, nutrition and 
communication. These things were 
central in the public thinking of 
the thirties, and the first documen- 
tary films were part of the social 
life of their time. 

When the War came in 1939, the 
documentary movement was small, 
but strong. It seized the initiative 
and was entrusted with the task 
of bringing Britain's war effort 
alive. It expanded many times 
over. The result was that the 
movement gained in size but lost 
in direction. The Documentary 
came to mean a kind of film with- 
out actors. Experimental tech- 
niques and styles hammered out in 
the '30s quickly became formulae. 

It is to Canada that one must 
look for the complete flowering of 
the pre-war British documentary 
movement. Even the Crown Film 
Unit, inheritor of the traditions of 
the GPO Film Unit, sometimes 
took on the airs of a society lady 
in a ringside seat at a circus, and 
finally behaved in a way calculated 
to secure its own demise. But at 

its best it was responsible perhaps 
for the finest war film of all — 
Humphrey Jennings' Fires Were 

Today the need for the creative 
interpretation of actuality is as 
great as ever, but the subject 
matter of the films is changing, 
and the purposes are different. We 
are facing a crisis in education 
when the old classical and liberal 
values are being found wanting 
and the new scientific and tech- 
nological ones not yet wholly 
accepted. This is why the liveliest 
contemporary documentaries are 
occupied, not with housing and 

Problems book and left Free 
Cinema unsuccessfully to pursue a 
freedom Captive Cinema has long 
since commanded. 

If today some British documen- 
taries seem a little dead-beat this 
is anything but true of the films 
coming out of Asia, Africa, the 
Middle East and Latin America. 
There a documentary film move- 
ment is bubbling up beside the 
developing social and economic 
forces. The foremost exponents of 
the documentary film today bear 
names which sound strange and 
far away in the purlieus of Soho 
Square. Atma Ram of India, 

A documentary in the making — " Venezuela Fights Malaria ", produced by 
(nidad Filmiea Shell, directed by Boris Woron/.ow 

nutrition, but with the interpreta- 
tion of science and technology. 

One result is that Approach- 
ing the Speed of Sound shared a 
Venice prize with Every Day Ex- 
cept Christmas. It stems directly 
from the old EMB Aero-Engine 
and early Shell films like Power 
Unit and Springs. 

For all its solid elegance. 
Every Day Except Christmas dis- 
plays a sense neither of social nor 
of economic reality. Lindsay 
Anderson parades his engaging 
and ebullient cast like a mission- 
ary showing off converted canni- 
bals to a visiting bishop. So 
marked is his lack of social aware- 
ness in a subject one would have 
supposed he would have found 
bristling with social problems, 
that it suggests there may not be 
much place today for the so-called 
social film. Television has taken 
over the job and has found a direct 
approach to its subject matter 
that eludes contemporary docu- 
mentary. Michael Peacock, Caryl 
Doncaster, Peter Hunt, Peter 
Morley and Michael Ingrams have 
taken a leaf out of the Housing 

Abou il Naga of Egypt, Ebrahim 
Golestan of Iran and Nestor 
Lovera of Venezuela have taken 
the standard and are carrying it 
to new heights. One of the more 
significant films of our time is a 
16mm. Egyptian documentary with 
the strange title of Tie Up Your 
Camel and Leave the Rest to God. 

That documentary is the only 
creative contribution Britain has 
ever made to the art of the film is 
not to be doubted. We can be 
proud that its point of view and 
principles are recognised by film 
makers all over the world. We are 
honoured that many of us have 
been called to help the new docu- 
mentary film find its feet. We can 
be reassured, too, for the new over- 
seas movement has produced not 
only new possibilities and pur- 
poses, but new jobs. 

It is up to us to keep up with 
the inspiration and freshness of 
the new overseas documentaries. 
The disciplines of the movement 
are open to everyone, but they 
leave little room for the man with 
his eyes on his feet and not on far 



May 1958 


Senior Cameraman 
B.B.C. Television Service 



'yHE latest addition to the B.B.C. 
* Recording Equipment, the 
Video Electronic Recording Ap- 
paratus, VERA for short, is being 
installed at Lime Grove and will 
be ready for service very soon. A 
demonstration was given on 
Panorama on Monday, April 14th, 
the vision signals being recorded 
on the prototype apparatus at the 
B.B.C.'s Research Department at 
Nightingale Square. 

Normally Telerecordings are 
done by filming the picture from a 
Cathode Ray Tube. The film is 
then sent to the Laboratories in the 
usual way for processing. This 
takes anything up to twenty-four 
hours for urgent prints. If the 
film is topical and urgently re- 
quired the negative can be used 
for transmission and phase- 
reversal applied in the video 

By using magnetic tape, this 
can be recorded and transmitted in 
a few minutes, in other words, 
in the time it takes to re-wind the 
tape back to the start position. 
For News and programmes like 
Panorama and Sportsview VERA 
is a Godsend. 

The tape travels through the 
heads at 200 inches per second or 
1,000 feet per minute and the run- 
up time is approximately twenty 
seconds. It is possible to monitor 
vision and sound whilst recording 
is in progress. Twenty-thousand 
feet reels are used which give 
nearly twenty minutes recording. 

Three tracks are used on i-inch 
un-sprocketed tape. Of these, two 
are for vision and one for sound. 
The video waveform ( picture i is 
divided into two frequency bands, 
one frequency band per track. It 
is believed that the upper fre- 
quency band is heterodyned to pro- 
duce a lower band of frequencies 
for easier recording. This would 
be converted back to the original 
frequency band on reproduction. 

Magnetic tape can be wiped and 
used again and again and as there 
is no processing involved the cost 
of recording a programme on 
VERA is much less than a record- 
ing on film. 

Contributions to or from Euro- 
vision are catered for by the con- 
verter at Swingate, which consists 
of a display (TV cathode ray tube) 
with a static Television camera 
working at the required line fre- 
frequency focused on it. 

Programmes recorded on VERA 
could only be offered abroad via 
this facility. In other words, the 
tape cannot be sent abroad for 
transmission by a foreign station. 
Even if the foreign station had a 
VERA, they would still need a con- 
verter to convert the recording to 
their own line frequency. There- 
fore, programmes recorded on 
VERA would have to be trans- 
ferred to film for sale abroad. 

Ampex System 

It might be interesting to men- 
tion the Ampex system which is 
used in the U.S.A. This uses a 
slow tape speed and a system of 
rotating heads which lay the 
recorded video information across, 
rather than along, the tape. A 
drawback of this system is that 
the same heads must be used for 
recording and playback. VERA 
recordings are not bound by this 
critical requirement. 

Magnetic tape cannot be stored 
for long periods without gradual 
loss of the higher frequencies and 
there is also the possibility of 
print-through. Great care must be 
exercised at all times to keep the 
tape away from magnetic fields 
such as generators, etc. 

Full technical information on 
editing is not yet available. 

In the case of a play being 
recorded there are sometimes a 
few re-takes necessary after trans- 
mission has taken place, due, per- 
haps, to an artist fluffing lines, 
someone making a noise, a camera- 
man, producer or sound mixer 
making an operational error. This 
necessitates editing but this pre- 
sents no problems with film. Edit- 
ing high speed tape, however, 
would appear to present some pro- 
blems and would require a high 
degree of concentration, probably 
behind locked doors ! 

It could be done by wiping the 
faulty sequences, but what is 
there to guarantee that the re- 
take time is exactly that of the 
original and will fit perfectly the 
wiped portion? Also, although 

the recording can be monitored 
during editing and the wipe switch 
pressed at the correct moment, 
there will be nothing on the 
monitor to indicate when to release 
the wipe key at the end of the 
sequence, with the consequent 
danger of wiping beyond the 
required point. 

Editing by transfer of essential 
material to another machine, 
stopping at the point of retake, 
doing the retake on the transfer 
machine, then carrying on with 
the transfer from the original 
machine, might appear to be a 
solution. Unfortunately, synchr- 
nisation of the two machines would 
be absolutely essential and this 
would be virtually impossible 
because the run-up time varies. 

Cutting and Joining 

Cutting and joining would be the 
best method, using a frequency 
blip above the audio range super- 
imposed on the sound track to 
mark the splicing point. This blip 
would be heard as a whistle when 
the tape was played back slowly. 
The splice would probably cause a 
change of syncs on transmission 
which would be visible as a 
momentary line twitter or a frame 
roll but this would not be serious. 

It remains to be seen whether 
eventually all telerecordings will 
be done on VERA. I do not think 
so because material for archives 
or other similar requirements will 
onlj retain its original quality over 
tin' years if done on film, and pro- 
grammes for sale abroad also need 
to be done on film for reasons 
already given. 

May 1958 



Death of 
A. E. Inglethorpe 

We very much regret to 
announce the death of one of 
A.C.T.T.'s oldest members, Alfred 
Edward Inglethorpe, one of the 
old-time news-reel cameramen who 
worked for many years for 
Gaumont and Pathe. 

Brother R. W. Smith writes : 
•' Alfred Edward Inglethorpe had 
an inventive brain and was respon- 
sible for many improvements on 
cine cameras and projectors. Many 
years ago he constructed a tripod 
with a floating head to correct 
horizon when filming at sea. Even 
up to the time of his death at the 
age of 69 he was working on a 
back projection model of his own 
design for use in schools and for 
advertising. He will be remem- 
bered with affection by old 
members of A.C.T.T." 

Two Weddings 

Brian Shemmings, Branch Sec- 
retary, Pathe, Wardour Street, 
writes : 

Two of our members got married 
during March this year. The first 
was Ronnie Steele, who was 
married on March 22nd at St. 
Margaret's Church, Streatham, to 
Miss Marion Lait. There were 90 
guests at the reception. The 
Branch presented Ron and Marion 
with an electric fire as a wedding 

The second was Les Holland, 
who was married on March 29th 
at St. Jude's Church, Elephant and 
Castle, to Miss Eileen Sone. An 
archway of fishing rods was lined 
up outside the Church, for Les is 
an ardent member of the South- 
wark Angling Club. There were 
52 guests at the reception, includ- 
ing his brother Bill, who works 
with him at this Branch. Les and 
Eileen were presented with a can- 
teen of cutlery, a wedding present 
from the Branch. 



Editorial Office: 
2 Soho Square, W.l 

Telephone: GERrard 8506 

Advertisement Office: 
67 Clerkenwell Road, E.C.I 

Telephone: HOLborn 4972 




Head of United Nations Film Services 

United Nations Film Services 
work as uncompromisingly inter- 
nationally as A.C.T.T. tries to 
work nationally. Our range of 
nationalities includes French, Czech, 
Indian, Jamaican, Russian, Ameri- 
can and British. Each of the 
eighty-two nations has a quota of 
the staff of the whole organisation 
according to the amount of its 
financial contribution. 

The annual contributions of the 
member nations to the Film 
Services amount to an average of 
a little over two thousand dollars 
per nation. We scrape additional 
money by working for Specialised 
Agencies of the United Nations 
family like U.N.I.C.E.F. (The 
Children's Fund), or by publicising 
special projects like the UN 
Emergency Force in the Middle 
East; or by making joint pro- 
ductions with individual member 
states on subjects of mutual 

Millions of Feet 

Our film library contains millions 
of feet of coverage from all over 
the world as well as coverage of 
meetings of the Security Council 
and the United Nations General 
Assembly. This historic material 
is available at the cost of a dupli- 
cate negative for any production 
or television programme consonant 
with the interests of the United 
Nations. Indeed, we give all the 
help within our scope to any pro- 
ducer whose interests coincide with 

We also make films. In Haiti, 
earlier this year, we have been 
making a three-reel anecdotal 
about United Nations Technical 
Assistance work in introducing 
modern methods of co-operative 
farming. This was to form the 
second of three episodes designed 
to make up the first United 
Nations film of feature length, 
under the working title of Power 
Among Men. It is a study of post- 
war efforts to regain, to raise and 
to maintain standards of living in 
conditions of defence, agriculture 
and industry. The first episode 

takes place in a war-devastated 
village near Monte Cassino in 
Italy, the second in the agri- 
cultural highlands of Tahiti. The 
third is in a hydro-electric com- 
munity at Kitimat, British 

The epilogue is planned as an 
attempt to show what effect the 
use of nuclear energy can have on 
these and other communities if 
shared under international control. 

We have completed a batch of 
more routine films and have also 
in hand a three-reel film which 
attempts to illustrate the services 
of the United Nations family of 
Agencies to the individual who 
asks for them through his Govern- 
ment, and it is quite a range of 
services, too. 

We try to keep away from the 
standard information film whose 
work, to my mind, is better done 
by the spoken or written word. 
We are trying to work through 
the emotions of the audience and 
we try to aim at a particular type 
of audience, suitable for the recep- 
tion of the subject chosen. In the 
past there was a curious notion 
that any film should be applicable 
to any audience — a tall order in a 
world as varied as ours! 







Pygmalion, 1938 Orders to Kill, 1958 

Young Mr. Lincoln, 1939 Gideons Day, 1958 




Modern Times, 1936 

A King in New York, 1957 



Housing Problems, 1935 Every Day Except Christmas, 1957 



May 1958 


T3EFORE examining the future of 
'-* commercial television, it is 
essential to get a clear picture of 
the past. 

For purely political reasons, 
commercial television was mounted 
and started in this country in just 
about half the time that was really 
needed to do it well, and it was 
done, for the greater part, by 
people with little or no previous 
knowledge of television. A few 
experts were enticed out of the 
B.B.C. but there were not enough 
to go round and the remarkable 

cinemas on their hands and these 
were hastily adapted because they 
were immediately available and in 
spite of the fact that, except for 
certain sorts of " variety ", the 

. . . enticed out of the B.B.C. 

thing is not that so many mistakes 
were made, but so few. That it 
started at all when it did and that, 
in a mere two and a half years, it 
has taken such a hold on the public 
imagination, is a tribute to every- 
one concerned. 

The commercial companies 
started with no premises, no staff, 
no equipment, no income, no 
audience and no time. In a year 
transmissions had begun. It is 
hardly surprising that the whole 
operation was permeated with an 
air of frantic improvisation. 

Hastily Adapted 

The personnel was hastily 
assembled, the equipment was 
often not the best that could be 
obtained but what could be 
obtained in the time; the studios, 
in the beginning, could not be 
pecially designed and built but 
had to be converted from existing 
buildings. Most of the companies 
had a lew derelict old theatres or 



TV Vice-President 

theatre is, architecturally and 
acoustically, just about the worst 
and most awkwardly unsuitable 
kind of building for the purpose. 

To make confusion even more 
confounded the I.T.A., by its rigid 
over-insistence on regional tele- 
vision and by its complete ignor- 
ing of the fact that London is, and 
always has been, the traditional 
centre of the entertainment indus- 
try, placed many of these com- 
panies in places where there was 
no large, resident population of 
professional entertainers — actors, 
writers, dancers, musicians and the 
like; with the result that these 
exiled companies had to import a 
very large proportion of their pro- 
gramme material from London. A 
most cumbersome and expensive 

Awkwardness and Improvisation 

Many of the faults inherent in 
this kind of start have since been 
rectified, but many have not and 
the general picture of awkward- 
ness and improvisation still, widely 
remains. What should be done ? 

First of all, to build studios that 
are really and solely designed for 
television production. This work 
is going ahead, but it takes time 
and money and it will be quite a 
few years before we are finally rid 
of the improvisations. The second 
thing to do, as I see it, is to get 
regional television into its right 
perspective and build these studios 
in the most economic and con- 
venient place. 

Genuine, regional television is 
an excellent thing and should be 
encouraged in every way. London 

is not Britain and it is sound think- 
ing to give the regions a proper 
voice in television, the biggest 
voice that they can be given. There 
are, however, limits to which this 
is practicable and economically 
sensible. This limit is reached 
when it comes to drama, variety 
and " pure entertainment ". 

For three hundred years, now, 
London has been the Mecca of all 
those who would make a place for 
themselves in the entertainment 
industry. Everyone from Aber- 
deen to Aberystwyth who has 
wanted to make a living as an 
actor or singer or dancer has emi- 
grated to London to do it, with the 
result that London is now the only 
place in the country that has a 
large population and a huge re- 
serve of professional entertainers. 
Because of this, it is also virtually 
the only place that has all the 
ancillary arts and industries that 
support them — the costumiers, 
the wig makers, art directors, and 
hirers of firearms and furniture, 
the film processing laboratories — 
all the things that go to make up 

The result of this is that if you 
want to cast and equip a complex 

. . . everyone lias emigrated to London 

piece of entertainment you have 
got to do it from London. 

What happens at the moment 
with, say, a television play from 
Manchester? A Director, living in 
London, takes a script which has 
been written or adapted in London 
or the home counties and easts it 
with London based actors. He pre- 
pares it and rehearses it in London 
and then, with a huge load of 
costumes, wigs, furniture (you 

May 1958 



can't even hire the furniture in the 
provinces!), cans of film, gramo- 
phone records and properties he 
lumbers up to Manchester, does the 
show and brings the whole lot back 
to London, having wasted the best 
part of five hundred pounds on 
transport, hotel bills and trunk 
calls. It is not regional and it is 

" Let's not Deceive Ourselves " 

Let us have as much genuine 
regional television as possible, but 
let us not try and deceive ourselves 
and the public as to what is 
genuine and what is phoney. 

One would have thought that the 
place to build new studios was 
London. One would have thought 
that it would have been sensible 
for the provincial companies to 
have got together to build and 
share London studios specially de- 
signed and equipped for this type 
of entertainment. One would 
have thought that the I.T.A. 
would have seen the logic of the 
case and have relaxed the rigidity 
of its rules for this type of show. 

What else would one like to see 
happening in the future ? I, for 
one, would like to see more flexi- 
bility in the programme planning; 
fewer series and serials and fixed 
spots at fixed times so that there 
was more room for the off-beat, 
exceptional and individual pro- 
gramme that does not lend itself 
to the conveyor-belt system and at 
present finds no place. 

Importance of Writers 

I would like, too, to see a more 
genuine realisation of the supreme 
importance of the writer in tele- 
vision. He is our life blood. We 
cannot live without him and we are 
not treating him properly. At pre- 
sent we are consuming scripts 
faster than they are being written. 
Soon we shall run out. We are 
already scraping the bottom of the 
barrel and producing stuff that 
ought never to see the light of day. 
We are not encouraging the first- 
rate writer to write for television. 
This we shall have to do if we are 
to survive. At present a writer 
can make much more money 
writing a novel than he can by 
writing two or three television 
scripts. He can make twenty 
times the money by writing a play 
for the theatre than he can by 
writing the same play for tele- 
vision which is seen by a hundred 
times more people. If we, our- 
selves, are going to live, then we 
must give the top grade writer a 
living in television and compete 

with the other markets for his 

We must strive, too, for more 
professionalism. Too much of 
television production and direction 
is slipshod, amateurish, under- 
rehearsed and unpolished. Pro- 
ducers and directors must fight for 
more rehearsal time but they must 
also learn how to use it when they 
have got it. The one-run-through 
and bash-it-on-somehow days are 
over. There is no excuse for them 
any more. Let us look at the pre- 
cision and polish and exactitude of 
the tip-top, first feature film and 
the slap-up, West End theatre pro- 
duction and set our sights as high 
as these. 

Poor Lighting 

And what about the technical 
side of television? There is room 
for improvement here. There is 
still a great deal of lighting that 
is poorer than it should be. There 
is still a great deal of set design- 
ing and direction that takes no 
notice of the lighting man's prob- 
lems and makes his difficulties 
greater than they should be. A lot 
of telecine projection work is poor 
and a great deal of film is shot for 
telecine which is not suited to it 
because no exact standards have 
been codified and issued to film 
camera lighting men and pro- 
cessing laboratories. 

But it is in the field of television 
receiver manufacture that the 
greatest room for technical im- 
provement lies. For instance, we 
must insist that D.C. Restoration 
is included in all sets sold to the 
public. For those who are as un- 
technical as I am, let me try to 
explain D.C. Restoration. 

D.C. Restoration 

D.C. Restoration is that essential 
part of a television receiver that 
is designed automatically to con- 
trol the brightness and contrast of 
the picture, to balance the blacks 
and whites. Unfortunately it costs 
a little money, around five pounds, 
I believe, and, in order to reduce 
the cost of manufacture, a very 
large number of the makers of 
television sets have agreed to omit 
this component from the models 
that they sell. What is the result ? 
As long as the picture is a brightly 
lit one, the quality is acceptable, 
but as soon as the director wants 
to do a dark scene, moonlight for 
instance, or some dramatic 
" effect " lighting with bright high- 
lights and deep shadows, the 
domestic picture, far from being 

satisfactory, will render, instead 
of black and white, an all-over, 
pallid, foggy, fuzzy grey. His 
effect and the general quality of 
the picture will be gone. On the 
control gallery monitor which has 
D.C. Restoration the result may be 
fine, but the picture on the home 
set which has not got it will be a 

This hampers and hamstrings 
the director to a terrible extent. It 
means that if the script says " The 
room is dark, the door opens, a 
shaft of bright light falls on the 
figure on the sofa, a man stands 
silhouetted in the doorway ", he 
can't do it. He has to write that 
scene out of the script. 

. . . the picture will be ;i mess 

The elimination of the D.C. com- 
ponent from modern television re- 
ceivers is one of the major 
scandals of the industry. We 
should all do everything in our 
power to put an end to it. 

And what of the establishment 
of a training school ? Most of the 
companies run an occasional, per- 
functory training session, but these 
are mostly inadequate. There is 
no concerted and complete effort 
and organisation. The newcomer 
to the industry usually half learns 
his job by being allowed to hang 
around and watch for a bit and is 
then kicked into the deep end to 
sink or swim, with the result that 
a proportion of television is slip- 
shod and messy and displays a 
wide ignorance of the elementary 
grammar of camera work. One 
hopes that the production com- 
panies, in their own interests, will 
soon get together and combine to 
establish a really first-class staff 
training college. 

I suppose one cannot write an 
article on the future of television 
without saying something about 
colour. The B.B.C. has an experi- 
mental colour system which gives 
remarkably good and effective re- 
sults but it is still in the labora- 
tory stage and is far from being 
either a practical or a commercial 
proposition. One of the senior 

(Continued on page 270) 



May 1958 



B.B.C. engineers was asked when 
he thought that it would really 
come in. His answer was illuminat- 
ing and typical. " It will start ", 
he said, " in my opinion, Ave years 
from some, as yet, unspecified 
date ". 

Looking back on the history of 
television, one is amazed at the 
speed of its development and the 
breadth of its achievement. I 
think we may congratulate our- 
selves; but. for heaven's sake, let 
us not be complacent. Let us not 
imagine that television has suc- 
ceeded because of the excellence of 
the product. It has not. Tele- 
vision has captured its audience 
because it appeals to the lazy and 
the impoverished, because it calls 
for an expenditure, on the part of 
the viewer, neither of money nor 
of effort. Compared with the 
general run of its rival arts, the 
theatre and the cinema, its 
standards are dismally low. There 
is still much to be done. 


Cornel Lucas, personality photo- 
grapher with the Rank Organisa- 
tion, who has been in photography 
for twenty years and a member of 
A.C.T.T. for the same length of 
time, is holding a one-man exhibi- 
tion of his work at Kodaks, Kings- 
way, until May 21st. 

The exhibition includes many ex- 
amples in colour and black-and- 
white of personalities he has 
photographed over the last 
twelve years. During this time 
he has photographed some of the 
world's most attractive women. He 
has travelled round the world 
twice photographing the faces of 
film personalities. He has also 
covered film festivals wherever the 
British Film Industry is repre- 

Cornel Lucas has had many ex- 
hibitions of his work throughout 
the country but none of them as 
large as the present one which is 
tlic first one-man exhibition of a 
photographer in the film industry. 
At the conclusion of the London 
showing the exhibition will go on 

Cameramen on the Move 

In an average year, cameramen 
in Pictorial, News and Documen- 
tary departments travel many 
thousands of miles abroad. They 
work hard, but at least they do 
see the world, while the rest of us 
have to keep in the picture with 
guide books. 

Recently, however, the adminis- 
tration " backroom boys " have 
been holding aloft the Pathe 
standard overseas. They include: 

Terry Ashwood, General Mana- 
ger of the Production Division, 
accompanied by Harry Field, Pro- 
duction Executive of the TV Com- 
mercials Department, recently 
returned from a ten days visit to 
the Warners, Columbia, and Desilu 
studios convinced that film pro- 
duction over there is still thriving. 
Judging from the general enthu- 
siasm everywhere there are very 
few indications of the truth in 
rumours that times are bad, they 

Bob Fitchett, Production Mana- 
ger, TV Commercials, has had ten 
days in Italy, supervising company 
interests in Rome. An interesting 
aspect of the business over there 
noted by Bob is the fact that com- 
mercials on television are trans- 
mitted every evening in one 
quarter-hour programme, so that 
viewers can switch off if they so 
desire. On the other hand, with 
all due respect to the advertising 
spots produced in this country, 
some of which are quite good, the 
two-minute twenty-second Italian 
commercials have considerably 
more entertainment value. 

The comparative tranquility of 
our busy Wardour Street studios 
was threatened recently by the 
arrival of a ferocious looking 
leopard, booked for a session on 
the set with Director Eric Fullilove 
and his crew. Extensive pre- 
cautions were taken, and, needless 
to say, heavy insurance taken out 
in view of the jungle cat's reputa- 
tion. It says much for the com- 
posure of the technicians that they 
stood their ground firmly as the 
leopard stalked In, dragging his 
trainer behind. But when the 
studio lights were switched on. the 
overgrown pussy-cat rolled over on 
to its back, and literally asked for 
its tummy to be scratched! Film- 
ing went off without a hitch (which 
is more than we can say when 

dealing with highly paid human 

Incidentally, the Pic cameramen 
can probably claim to be the most 
experienced of all in dealing with 
wild animals. Among the inci- 
dents that spring to mind is the 
time that . . . Stan Goozee filmed 
at the flat of two spinster ladies 
who kept two huge crocodiles in 
the bath! Another is when Martin 
Rolfe escaped unscathed after film- 
ing a fully grown " tame " lion in 
someone's back garden, only to be 
bitten next day by a tiny bear cub 
at London Zoo. 


d 3 

I'll say it's a luxury cinema — 

look how you sink into the 


Talking about animals reminds 
me that John Parsons, who handles 
Casting for TV Commercials, 
really has his hands full these 
days. And besides the leopard I 
mentioned before, there seems to 
have been a heavy demand of the 
domestic sort — not always with 
gratifying results. For example, 
iust to add to Eric Fullilove's 
burden, a band of cats was booked 
for a cat food commercial. For a 
whole day they fought when they 
should have purred, and purred 
when they should have fought, 
until it was decided to make a 
fresh start at the home of the cats. 

Roy H. Lewis 

May 1958 



The Laboratories have always formed the hard industrial core of our Union. 

The article which appears below tells the history of some of the earlier struggles 

which have led up to the much happier circumstances in which relations between 

employers and employees in the laboratories stand today. 

The Laboratories' 

^ gles, the trials, the patience 
and the triumphs that have punc- 
tuated our progress during the 
past twenty-five years! 

Indeed, the Laboratory Branch 
can be justly proud of the part its 
members played in forging some 
of our history. For example, 
membership had just topped the 
750 mark when Laboratory 
workers began to join A.C.T. 
George Elvin, Ken Gordon and Sid 
Cole had a lot to do with this early 
recruitment. In one way or 
another, they managed to meet 
laboratory workers and gain their 
interest in the trade union move- 
ment. I remember Sid Cole 
addressing a group in the boiler 
house at Elstree Laboratories 
during one lunch hour in October 
1935, where the boys had gathered 
out of the cold to eat their sand- 

Hard Core of Branch 

This concentration on early 
Laboratory recruitment went on 
from August until December, 1935, 
and during that period, the first 
80 members were accepted and 
formed the hard core of the 
Laboratory Branch which now has 
a membership of nearly 3,000. 
Charles Parkhouse, now Studio 
Manager at Carlton Hill Studios; 
Sid Bailey, Negative Developer at 
Stolls, and Cyril J. Philips, now 
Managing Director of Pathe 
Laboratories, were three of the 
first members to join. IncidentaUy, 
Cyril Philips was the first chair- 
man of the Laboratory Section; 
and I can still remember him com- 
fortably puffing away at his pipe 
whilst presiding over meetings. 

From Pathe Laboratories, Frank 
Fuller, a previous Chairman of 
the Laboratory Section, a Vice- 
President, and now Treasurer of 
the Union, also joined together 
with Bill Sharpe, Joe Bremson and 
J. Ritchie. At Elstree Labora- 
tories, there were Steve Cox and 
Clifford Boote, both editing now, 
also Bob Bennett, Reg Marsh, 
Charlie Holloway, Sid Twyman, 
A. Taylor, Eva Howes, Gwen 
Evans. Ernie Welch, Arthur Lee, 


M. Ash, who is now the manager 
of Elstree Laboratories, and Alf 
Cooper, now Vice-President and 
Chairman of the Laboratory 
Branch. From Gaumont British 
Laboratories, Shepherds Bush, 
May Dennington, G. Duff, Albert 



Dyas, Charles Gunnel, F. C. Oliver 
and P. Knight. 

The Laboratory members were 
soon operating on a branch basis. 
Those earlier years were spent in 
preparing a draft agreement and 
building up the membership. The 
appalling conditions in film pro- 
cessing laboratories helped a lot. 
There were about fifteen labora- 
tories all paying just what they 
liked to their staff, with working 
conditions fluctuating widely and 
no employers' organisation 

through which a common policy 
could be discussed. Wages were 
so low that printers could be got 
at 35/- a week. In such a setting 
it was inevitable that trade union 
organisation was the only way to 
set about forcing improvements. 

Eventually, the Film Group of 
the Federation of British Indus- 
tries, though precluded by their 
constitution from discussing 
labour matters, agreed to meet 
A.C.T. We stressed the need for 
industrial agreements and put as 
priority the case for Laboratory 
Agreement. We must have made 
some impression for, in due course, 
there emerged the Film Produc- 
tion Employers' Federation with 
studio and laboratory sections. 

We started meeting the labora- 
tory group, after our laboratory 
members, following innumerable 
meetings, had prepared their de- 
mands. It was soon obvious the 

employers had no intention of 
making real progress. The Corona- 
tion of King George VI fortunately 
came along at that time and we 
decided to stop the industry. The 
employers gave in and we started 
off on the difficult job of negotiat- 
ing the 1939 laboratory agreement. 

We eventually reached agree- 
ment, then the employers refused 
to sign until the studio agreement, 
discussion on which had not yet 
commenced, had been completed. 
We raised hell and in the end, on 
February 16th, 1939, the document 
was signed. This was a landmark 
in our history. It was the first 
agreement negotiated with any 
employers' association by A.C.T. 
and covered fourteen film process- 
ing laboratories. 

To give some idea how bad 
wages and conditions were at that 
time, wages rates as low as £2 and 
£2 5s. Od. per week were agreed 
and represented increases for 
chose members concerned. Fur- 
thermore, although we established 
the principle of overtime pay- 
ments, these were on a weekly and 
not a guaranteed daily basis. The 
principle of extra payment for 
night work was also agreed but 
the rate was only an extra 1/- per 
shift. On the other hand, two 
weeks' holiday with pay was 
agreed, together with payments 
during periods of sickness. How- 
ever, the most important points 
arising from these negotiations 
were that we did achieve Trade 
Union recognition and signed a 
National Agreement which set out 
minimum rates and conditions for 
film laboratory workers. 

Arbitration Award Number 758 

In due course, we sought to 
terminate this agreement and 
negotiate a better one, but in the 
meantime, the Employers' Asso- 
ciation had disbanded and although 
the agreement was still binding — 
thanks to the fair wages clause 
which Labour M.P.s and Peers had 
succeeded in having incorporated 
in the Cinematograph Films Act, 
we could find no authoritative 

(Continued on page 272) 



May 1958 



body with whom to negotiate. By 
then, owing to the war, we were 
also wanting a cost of living 
bonus. We had already got one 
for studio members and took the 
employers to arbitration to seek 
a similar one for laboratory 
workers. This brought the em- 
ployers together in self-defence. 
We got the bonus, but, what was 
equally important, we got a new 
Employers' Federation. 

After preliminary delays the 
two negotiating bodies reached 
agreement which it was recom- 
mended, when signed, should 
operate from February 1st, 1945. 
The main body of the employers, 
however, refused to endorse the 
work of their committee in cer- 
tain vital respects, namely half-a- 
dozen or so wage rates and the 
provisions for a guaranteed day 
with payment of overtime for all 
hours worked before 8 a.m. or 
after 7 p.m. We offered to refer 
the two outstanding points to arbi- 
tration, but if the employers in- 
sisted in their obstinacy, to impose 
an official overtime ban in every 
section of the industry. 

Would not Budge 

The employers would not budge 
and the ban came into operation 
on May 4th, 1945. The only ex- 
ceptions were the Kays Group of 
laboratories who were outside the 
Federation and readily agreed to 
sign the agreement as negotiated. 

One company, Humphries 
Laboratories, attempted to break 
the ban by dismissing the em- 
ployees who refused to work over- 
time. Twenty-five members were 
locked out. Those remaining at the 
firm were the only A.C.T. members 
who ignored the overtime ban in- 
structions. Dispute benefit was 
paid to the victimised members 
and the rest of A.C.T. imposed a 
boycott of the company. They 
refused to handle work to be sent 
to or from that laboratory. 

Eventually, the dispute was re- 
ferred to the National Arbitration 
Tribunal which awarded com- 
pletely in favour of the Union 
retrospectively to February 1st, 
1945, the date originally agnni 
with the employers. Meanwhile, 
the pressure on Humphries had 
been felt and no sooner had the 
award come to hand than Mr. Ter- 
raneau agreed to reinstate the 
locked-out members, pay them 
bheir wages and cost of living 
bonus for the fourteen weeks of 
the lockout together with all the 

increases due under the award. 
The Arbitration Award provided 

1. A IfJf-hour week in Newsreel 

2. Overtime payment for all 
hours worked before 8 a.m. 
dud after 7 p.m. 

wage packets containing wage in- 
creases for the previous six 
months or more. 

The dispute was the greatest 
trial our membership had gone 
through to that date and we came 
out of it with flying colours. For 
the first time, the laboratory 

In the case of an Improver who returns to a particular 
department after employment in some other department 
previous service in that particular department shall be taken 
into full account in computing the six months sen. ice necessary 
for promotion to a graded employee. 

In the csent of an Improver who has become a graded 
employee but has not served his full three years service as an 
Improver he may in the event of his changing his emplovment, 
return to the Improver class it his employment is in a different 
department from that in which he qualified as a gr„ded 

the ratio "I employment of Improvers and Newcomers to 
Graded Employees shall not exceed 1 : 10 in the case of 
Associates employing 25 Graded employees or more, and 1 : 5 
in the case of Associates employing less than 25 Graded 

For and mi Kh.ilf of 

Film Production Employers' Fmh.katiok, 
(Signed) R. NORTON, 

Chairman of the Executive Committee. 

Member of the Executive Committee. 

Member of the Executive Committee. 

lion. Secretary. 
Foi and on behalf of 

The Association' or Cine-Technicians, 


Chairman of the Laboratory Section. 

Member of the Executive Committee. 

General Secretary. 


llic Signature Page of the first Laboratory Agreement 

3. Time and a half for night- 
If. E(jual pail fur equal work. 

5. Rates for 17 new grades. 

6. Wage increases ranging from 
13/- to £2 tOs. "</. per week. 

The award was made on August 
9th, 1945, which meant laboratory 
workers, when paid out, took home 

workers had a decent wage packet 
and decent working conditions, ob- 
tained solely by sticking together 
as members of a trade union with 
the help of their fellow members 
in Studios, Newsreels. and Shorts. 
I am sun' everyone would wish to 
pay tribute to Eric Pask, the shop 
steward and those twenty-five 
members who held the fort at 

May 1958 



Humphries during that trying 
time and also to Frank Fuller, Les 
Pryor, Sid Bremson, Charlie 
Wheeler and lastly, but not least, 
to George Elvin, who led the above 
committee throughout the whole 
of the negotiations. 

This victory was followed by 
some years of peaceful negotia- 
tion. On December 4th, 1946, an 
agreement was signed which 
established for all laboratory cleri- 
cal workers a 40-hour week to- 
gether with wage increases and 
recognised conditions of employ- 

On December 7th, 1948, Arbi- 
tration Award No. 758 was incor- 
porated in an agreement with the 
employers whose association had 
now changed its name to the Film 
Laboratory Association. A similar 
agreement was also signed with 

These agreements gave further 
wage increases and also a 5-day, 
44-hour week to laboratory tech- 
nical workers. The Laboratories 
continued to prosper but cost of 
living rose substantially. A further 
wage increase of 18/- was there- 
fore negotiated and incorporated 
in new agreements dated 
July 20th, 1951. 

The Great Lookout 

In October, 1953, A.C.T. asked 
for a revision of the existing 
agreements which included a de- 
mand for a 30/- wage increase. 
The Film Laboratory Association 
rejected the application, refused to 
negotiate and pressed that the 
matter be referred to arbitration. 

A mass meeting of laboratory 
workers held on Sunday, January 
24th, 1954, decided to impose an 
overtime ban and work to rule. 
There followed a strike of 29 mem- 
bers in the developing department 
of Technicolor Laboratories on the 
threat of the management to alter 
shifts during the period of work- 
ing to rule. The management re- 
taliated by locking out a further 
134 members. A resolution from 
a mass meeting of 1,200 Techni- 
color members led to a meeting 
with the management at which the 
company withdrew the notices and 
the local dispute ended on Feb- 
ruary 19th, 1954. 

But the F.L.A. still refused to 

In effect, they wanted A.C.T. to 
agree that the dispute be referred 
to arbitration as an alternative to 
negotiation. We could never have 
accepted such a proposal. So 
working to rule continued and was 
tightened up to the extent that 
all laboratory members broke for 

lunch together and the principle of 
one man one job and one man one 
machine was strictly enforced. 

On March 9th, 1945, the F.L.A. 
advised A.C.T. that as from 
March 12th, one week's notice 
would be given to all laboratory 
employees, other than those re- 
quired for care and maintenance 
work, unless the Union withdrew 
the overtime ban and instructions 
to work to rule. 

Most Eventful Days 

A mass meeting of 1,900 mem- 
bers was held on Sunday, 
March 14th, at the Gaumont Ham- 
mersmith, at which a resolution 
condemning the employers for re- 
fusing to negotiate and threaten- 
ing a lockout, was overwhelmingly 
carried, together with a pledge of 
full support until a just settlement 
of the Union claims had been met. 
The lockout took effect as threat- 
ened and the maintenance engin- 
eers came out on strike in sym- 
pathy with their locked out fellow 
members. The whole machinery 
of the Union was then put in gear 
to win the fight. The stoppage 
lasted just twelve days, which 
were probably the most eventful 
twelve days in our history. 

Committees were set up at all 
laboratories and pickets were laid 
on. Marches were organised, in- 
cluding one to the Waldorf which 
paraded outside the hotel during 
a Technicolor shareholders' meet- 
ing. Members too numerous to 
mention by name, who had always 
remained in the background, came 
forward and took leading roles in 
the conduct of the dispute. There 
was a comradeship that had to be 
seen to be believed. 

In an effort to bring further 
pressure on the Union, the British 
Film Producers' Association gave 
support to the F.L.A. and threat- 
ened to close all film studios. The 
Ministry of Labour intervened and 
after meetings with both sides, set 
up a committee of investigation 
into the dispute and requested that 
all forms of pressure be lifted: 
that is the lockout, strike, over- 
time ban and work-to-rule. Both 
sides were urged to agree to a re- 
sumption of work without vic- 

The F.L.A. agreed to reinstate 
every member without victimisa- 
tion and a mass meeting of labora- 
tory members accepted the pro- 
posals in the belief that such a 
move would lead to a resumption 
of negotiations. The pressure 
from both sides was called off, the 
members returned to work and as 
anticipated discussions recom- 

menced. After four joint meet- 
ings, several of the claims origin- 
ally put forward were settled, i.e., 
30/- of the cost of living bonus 
was consolidated in the basic 
wages, a third week's holiday after 
ten years' service was agreed, a 
meal allowance for transport 
drivers approved and the Union's 
claim for a wage increase and a 
40-hour week was referred to arbi- 
tration with two arbitrators, one 
nominated by each party, the 
parties to accept any award made. 
The award of the arbitrators on 
the two remaining points brought 
the dispute to a victorious con- 

An average wage increase of 
9/- per week was awarded. The 
hours at Technicolor Laboratories 
were reduced from 45 to 44 with- 
out loss of earnings and the arbi- 
trators recommended that both 
sides consider ways and means 
further to reduce the normal 
working hours over a period with- 
out loss of output. A technical 
sub-committee was also estab- 
lished, which in due course 
approved rates for a number of 
new grades including that of Pro- 
duction Contact man. 

Towards the end of 1956 a fur- 
ther wage increase of 11/- payable 
to all laboratory employees was 
negotiated. Provision was also 
made for payment for the full cost 
of living bonus at 18 years of age. 

At the moment of writing, 
another wage claim with certain 
amendments to the agreement, 
including the 40-hour week, is 
under consideration. 

We Can Be Proud 

Looking back over the history 
of our Laboratory Branch, we see 
in miniature the story of the Trade 
Union Movement; the struggle for 
recognition, followed by estab- 
lished wages and conditions, of 
rising profits and rising prices 
with the workers fighting to main- 
tain their standards of living and, 
wherever possible, to improve that 
standard. It is a struggle that 
will go on far into the future with 
the Trade Union Movement ever 
watchful to see that some of the 
benefits arising from changing 
techniques and automation shall 
come the way of the men and 
women on the job. 

A.C.T.T. can be justly proud of 
its Laboratory members who, in 
turn, are proud to be associated 
with fellow members in other 
sections of the film industry who 
stood by them and supported them 
in time of stress. It is indeed a 
magnificent history! 

274 FILM & TV TECHNICIAN May 1958 

Camera Column By Morton Lewis 


The Wednesday before Good 
Friday, Lewis MacLeod dropped 
into my office. 

" Have you got any spare 
stock? " he asked. 

This was a rather strange open- 
ing for anyone — Lewis in parti- 
cular. By painful cross-examina- 
tion I discovered that he was 
scouting for stock on behalf of the 
Films and TV Committee of the 
A.C.T.T. in a protest against 
Nuclear Weapons. 

Following the resolution at the 
A.G.M., the Films and TV Com- 
mittee had been established to give 
what support they could to the 
campaign. This was, on this 
occasion, to take the form of film- 
ing the Aldermaston March with 
an eye to producing a documen- 

Got His Stock 

Lewis got his stock, plus an 
Eyemo and an Arriflex. He also 
got me and three other members 
of our shop. There must be some- 
thing about his taciturn, soft-sell 

From all round the Industry the 
Committee, led by Derrick Knight, 
raised a Blimped Arri, with 
synchronous tape recorder, New- 
mans, wild Arri's, stock, techni- 
cians the lot! It was quite a 
turn-out and quite heartening in 
an Industry that is often accused 
of being mercenary to the nth 

Good Friday, 11.00 a.m., saw the 
Sound Unit favourably positioned 
on the plinth of Nelson's Column, 
and several wild cameras shooting 
crowd and cover shots. The March 
formed up and moved off for 
Aldermaston, after short speeches 
from the leaders of the campaign. 

Standing on ' Keep Left ' bol- 
lards, hanging out of the backs of 
camera cars, standing on soap 
boxes, and generally infuriating 
the police, the A.C.T.T. camera 
crews went too! 

The whole four-day march was 
covered, plus a solo effort by a 
marcher from Southampton, who 
marched up from the coast en- 
tirely on his own, handing out 
leaflets all over the place. 

I think everybody enjoyed doing 
I In job, and the rushes all 18.000 

feet of them(!) seem to justify 
the whole operation. 

Very few sequences carry any 
number boards, so whoever is 
going to break down the rushes, 

hack, Paul Lecker, Morton Lewis, 
Lewis Macleod, Stephen Peet, 
Brian Probin, Karel Reisz, Eda 
Segal, Ramsey Short, Bill 
Smeaton - Russell, Suschitsky, 
Terence Twigg, Harry Woolf. 

Morton Lewis with Directors Lindsay Anderson and Lawrie Knight 

let alone cut them, has some nasty 
moments coming his way. 

So there it is, 18,000 feet, in- 
cluding a good proportion synch, 
interviews, speeches, etc., shot in 
four days with a cast of thousands 
for what amounts to nothing! 
Whatever the outcome of the pro- 
test, whether we get blasted into 
eternity or not, I think the 
organisers of the filming and the 
technicians who made the whole 
thing possible can be congratu- 
lated on achieving what may at 
first have looked like an impossible 

I think that all the Unit should 
receive credit, so here goes: 

The Generalissimo was Derrick 
Knight; the rest of the Army was 
as follows: 

Lindsay Anderson, John Arnold, 
Kevin Connor, John Cromc, Derek 
Ford. Penelope Isaacs, Lawrie 
Knight, Peter Jessop, Kurt Lewen- 

Derek York, Mannic Yospa. 
Allan Forbes, Lew Gardner, Derek 
Hill, Rex Tasher, Roger Tully, 
Bernice Nassamer, together with 
many back-room organisers, secre- 
taries, etc. 


The film is being cut by: Terry 
Twigg and Mary Beales. 

Lindsay Anderson; also Charles 
Coplin, a Canadian Newsreel 
Cameraman, on loan from an ad- 
vertising agency, who ably assisted 
me, and took the stills to prove 
that I was there! 

A Levers-Rich was donated by 
Brian G. Salt, many cameras and 
much film came from all sections 
of the Industry, and the Blimped 
Arriflex was hired from Sydney 
Samuelson. Transport and petrol 
came from — well, your guess is as 
good as mine! 
FOOTNOTE. — We also had the use 

May 1958 



of a Camera-Plane donated for use 
on one of the days! If this whole 
operation had been a commercially 
sponsored venture it would have 
cost an estimated £3,000! 

Old Days 

I have had several enquiries 
about the film Mill on the Floss, 
which was made at Shepperton 
Studios, then called Sound City. 
Most of the enquiries were for a 
list of Credits. To the best of my 
knowledge, the film was shot in 
1936. It was produced by John 
Cline, the artistes were Frank 
Lawton, Fay Compton, James 
Mason, Geraldine Fitzgerald, to 
name a few. It was directed by 
Tim Whealan, 1st assistant Phil 
Brandon, I forget the 2nd assis- 
tant, 3rd assistant Michael 
{Around the World in 80 Days) 
Anderson. John Shimar was im- 
ported from America as Lighting 
Cameraman, Operator Hone Glen- 
denning, 1 pulled focus, then went 
on as second operator. 

As for the rest of the crew, my 
mind is a complete blank. Perhaps 
someone has a better memory and 
would be good enough to write in. 


Our congratulations to brother 
member, script-writer Donald Ford 
on his being re-elected to the 
London County Council for Lam- 
beth/Brixton, with a tremendous 
majority. Donald Ford is also a 
Parliamentary Candidate, in a con- 
stituency that looks like a good 
bet, so I may have another item 
after the General Election. 

Congratulations, too, on their 
election to the L.C.C, to Organiser 
Fred Tonge, and to Lord Faring- 
don, who for many years has been 
a very good friend to A.C.T.T. 
whenever film matters have come 
up in the House of Lords. 

A Prize 

To help sell our Journal and 
obtain a wider distribution to our 
members, I am going to propose 
that a competition be held with a 
prize offered to the member who 
obtains the greatest number of 
subscriptions, say, during the 
months of July, August and Sep- 

I shall put the question of the 
prize up to the F. & G.P. Com- 
mittee and I shall suggest that 
from next month on a subscrip- 
tion form be inserted in the 
Journal. If each reader tried to 
get one friend each month to sub- 
scribe this Journal would really be 
able to do the job itnended and 
perhaps make a profit. How about 

Fred Jacobs' Golden Jubilee 

Fred Jacobs, holder of A.C.T.T. 
card number 136, has a special 
reason for celebrating the silver 
anniversary of the Union. For 
him it is a golden jubilee year. 

" Jake's " father wanted him to 
join him in the music-engraving 
business. But Jake, as young men 
are wont to do, thought otherwise 
and on March 12th, 1908, he 
joined a French firm of manu- 
facturing agents in the City named 
R. Prieur & Co. The firm shortly 
afterwards took over the London 
agency of the Lux Film Company 
and opened an office in Gerrard 
Street. Jake was thus transferred 
to the new office to become a pro- 
jectionist and something of a super 

Ruffells and Jury were the big 
exhibitors in those days, and after 
viewing the films, they would buy 
copies according to their liking at 
the modest sum of fourpence a 
foot outright ! Jake sold them 
two-reclers, three-reelers and even 
an epic ten-reeler, an Italian film 
entitled Nero and Agrippina. 

His First Talkie 

From 1915 to 1918 Jake was in 
the army in France, serving with 
the Royal Fusiliers and spending 
most of the time in the trenches. 
Returning to his old job at the end 
of the war, he stayed only a short 
while, then left to join the British 
and Colonial Kinematograph Com- 
pany in Endell Street as an Assis- 
tant Editor on features. He stayed 
there until 1922. 

Then came a spell with Ideal at 
Boreham Wood as assistant to 
H. W. Kemplen, Ralph Kemplen's 
father. It was with Ideal that 
Jake handled his first talkie, doing 
a small job of re-editing on Rio 
Rita, a musical starring John 
Boles and Bebe Daniels. 

In 1932 he deserted the feature 
world to become chief cutter for 
Pathe News, a job he held until 
1946, when he moved on to the ill- 
fated Metro News, which ceased 
after only a year. It was at Pathe 
that Jake acquired his nickname. 

From 1948 to 1950 Jake worked 
as a freelance on both features and 
documentaries for various British 
companies. During this period he 
returned to Pathe for a short time 
and edited several advertising 
films for G.B. Screen Services, as 
well as a children's feature star- 

ring the teen-age Jean Simmons. 

The next five years until May, 
1955, he spent mainly in Paris as 
Chief of the Film Department for 
the Productivity Division of E.C.A., 
M.S. A., etc. During these years in 
Europe working for the Americans, 
Jake visited Belgium, Germany, 
Holland, Italy, Denmark, Norway 
and Sweden. 

On returning to England he 
handled all the material for the 

'resenlation from Genera] Council 

film taken at Geneva for the 
United Nations, on the Peaceful 
Uses of Atomic Energy. 

It was a fitting development to 
Jake's varied career when tele- 
vision claimed him. He spent six 
months with Associated Re- 
diffusion to complete a series of 
children's TV films entitled Colonel 
Crock and another six months with 
the BBC news and newsreel depart- 
ment at Alexandra Palace. To 
complete the record, Jake has been 
working with British Transport 
Films for the last year. 

It is easier to record a career 
than to sum up a personality. His 
fifty years in the film industry 
seem to have left no mark of 
physical strain on Jake. Perhaps 
his youthful appearance and 
agility — he travels up from 
Brighton daily — are due to his 
calm, unruffled temperament. Or 
perhaps being the eldest of a large 
family made him specially self- 

Jake's golden jubilee was 
marked by two presentations, one 
made by Edgar Anstey on behalf 
of his colleagues at British Trans- 
port Films, and the other, which 
was a cheque from the General 
Council of A.C.T.T., by George 



May 1958 


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Lab Topics 


Following discussions between 
the F.L.A. and A.C.T.T. Negotiat- 
ing Committees it is found that 
both sides are genuinely interested 
in the problem of maintaining 
complete freedom from Dermatitis 
among Laboratory employees. It 
is very encouraging to know that 
the employers have given this item 
a lot of deep thought. 

This particular disease happens 
to be one in which it appears that 
the medical profession is very 
divided as to the best methods of 
protecting persons exposed to the 
known hazards and sources of con- 
tagion. It is thus very difficult to 
lay down absolutely water-tight 
methods of safety for everybody. 
Here let me stress that all persons 
with any knowledge of this com- 
plaint are agreed that operators 
cannot wash too well or too often 
with good soap and clean water 
during their working hours. 

Asked to Report 

In line with the above, it is 
agreed that the Senior Medical 
Inspector of Factories be asked to 
look at the measures of protection 
used in the three major colour 
laboratories, in company with the 
Union Medical Officer and the 
medical officer of the company con- 
cerned, with a view to submitting 
a report for the benefit of both 

One member at Denham Labora- 
tories, as reported by Cyril Sparres 
at the end of these " Topics ", 
having contacted Dermatitis, has 
been receiving full pay during his 
absence and at the same time will 
not lose his rights to normal sick- 
ness benefit as provided for by our 
Agreement. That is very much in 
line with the requirements of the 
Laboratories section. 

At the Laboratories shop 
stewards' committee meeting held 
on Monday, March 17th, being the 
first meeting after the A.G.M., 
Miss Daphne Le Brun, our Secre- 
tary, was re-elected for, I believe, 
her fourth term of office. George 
irons is again Vice-Chairman, with 
myself Chairman. George, as we 
all know, has been on the Lab. 
Committee for very many years 
and as this year is A.C.T.T.'s 

Silver Jubilee, members such as he 
are well able to think back over 
the years with a feeling of great 
pride when they realise that all 
their time and effort spent on 

■Edited By 


behalf of the Union has played a 
major part in making our organis- 
ation the success it is. 

Bert Craik, our Senior Organiser, 
is writing at some length else- 
where in this issue, about the 
Union's 25 years of life and I have 
no doubt in my mind that being 
Bert he will really soft pedal the 
enormous contribution which he 
himself has made to this success, 
not only as a full-time organiser 
but as a laboratory employee work- 
ing on the various committees 
within A.C.T.T. in its early days. 

Charley Sparkes, the Den. Labs, 
night steward has, unfortunately, 
been ill during the last couple of 
weeks. I understand he has been 
ordered by his doctor to take 
things a little easier for a short 
while. We all hope that he will 
soon be quite fit; in the meantime, 
Bob Harding will carry on the 
job of Journal Reporter for his 
colleagues. Many thanks Charley 
for your contributions. 


Just a short while ago, four 
members of Kay's staff were 
having their tea-break, and their 
conversation worked round to the 
old favourite question " How long 
have you been here? " — and much 
later in the day, after a little 
thought on this question, it really 
strikes one that Time awaits no 
man, and the years roll by, and 
before you know where you are — 
you have become one of the Elite 
of Old Timers. 

Take for example Sam Williams, 
chargehand developer of the nega- 
tive and positive departments. He 
was a " brand new boy " way back 

in 1921, and now has a steady 37 
years behind him. Believe it or 
not, he was engaged on a pro- 
bationary period and tells us he 
hopes to be permanently engaged 
on the job in the near future, as he 
never was informed that he could 
keep at his work for the next 37 
odd years. 

On the " Dry Side " of the 
Laboratory, and into the Grading 
Department, we have H. Wall- 
bank, with a score of 29 years, and 
with him Luke Slow (he even 
remembered the date, August 6th, 
1927), a very steady 31 years! 
Also on the same job is Eric 
Edwards with 26 years. Turning 
from Grading to Printing, one 
finds Sid Cooper, Foreman Printer, 
who has had his finger on most of 
the printing projects which have 
developed at Kay's and he is now 
" printing out " his thirtieth year. 

Bert Maskel, of the Sensito- 
metric Department, is reading a 
steady 26, and along with him 
(just those few years ago) four 
other " youngsters " came through 
the front entrance of the firm, Les 
Webb and Les Morris of the 16mm. 
Printing Departments, Bill Jackson 
and Frank Lawman of the Nega- 
tive Developing, making up the 

On the Colour Side of the job, 
Bill Gorgen and L. Andrews of the 
Colour Developing, both share a 
round 31 years, and in the Printing 
Room of the Colour Department 
Jim Mann boasts of 27 years. 

Not forgetting the female ele- 
ment of Kay's, we have Miss 
Emmie Porter, who casually men- 
tions 32 years (Negative Cutting 
Room) and, in the same depart- 
ment, Miss Nora Edwards and 
Miss Ann Nichols score just over 
twenty years each. Quite a 
number of the staff not mentioned 
here, range between 15 and 20 
years' service, so to close this 
" Service line shoot " just one 
word to the youngsters now join- 
ing the trade, " keep at it — time 
soon goes by ". 

C. Sparkes of DEN. LABS writes : 
I am sorry to have to report 

( Continued on 'par/e 280 ) 


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May 1958 

Lab Topics 


that once again that old enemy 
Dermatitis has reared its ugly 
head in the Labs, although we at 
Denham are very happy at the co- 
operation of the management in 
this particular case. The member 
concerned is not losing financially. 
So it seems that at least one case 
of Dermatitis is successfully 

On the Social side, it was un- 
fortunate I was too late to report 
in the last issue that Denham 
Social Club started a Club Night 
on Wednesday evenings at The 
Vine, Hillingdon. The opening co- 
incided with the Labs Darts final 
between the Night Staff and the 
16mm. Department, which resulted 
in a win for the Night Staff. 

TECHNICOLOR reports : 

The report from this Laboratory 
is one which no individual or 
organisation ever wants to give. 
During the first week of April we 
unfortunately lost two members 
who had been with us — one seven 
years and the other thirteen years. 

Bros. Fred Chadwick and Cyril 
Harris died within two days of one 
another — Fred a member of the 
Shipping Department and Cyril a 
member of the Security Section. 
Our sympathy goes to all their 
dependents at this time. Both 
these men were liked and respected 
by all who came into contact with 
them in the Laboratory. 

Talking Point 


I spotted quite a number of our 
members of the fringes of the vast 
crowd that went to Trafalgar 
Square the other Sunday after- 
noon for the joint Labour Party- 
Trades Union Congress demon- 
stration, calling for the suspension 
of nuclear tests. 

It was good that they had res- 
ponded to the Executive's call to 
back this grand rally, but how 
could outsiders know of our sup- 
port? Engineers, printers, super- 
visory technicians and lots of 
others advertised their presence 
with banners, so why shouldn't we 
have an official banner for such 
occasions? The designs of those 
belonging to Unions older than 
our modest quarter century were 
richly embroidered, and in their 
old-fashioned designs there 

breathes the long traditions of 
their founders and the pioneers of 
British trades unionism. 

1 think it would be presump- 
tuous to imitate that style for our 
banner, and personally I dislike 
the stark contemporary fashion 
with words only to it. Long before 
films and TV became mass media, 
there was a very true advertising 
slogan, " Every Picture Tells a 
Story ", so why not some illustra- 
tion on our banner? What ideas 
have you got for a design? 



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Shorts & Documentary 


Since the Journal last went to 
press, four meetings have been 
held directly concerning members 
of our Section. 

The major meeting was, of 
course, the Shorts A.G.M., held at 
Mezzanine Theatre, Shell Mex 
House on March 25th. A very well 
attended gathering elected the 
following to hold office for the 
next twelve months : Chairman — 
Max Anderson; Vice-Chairman — 
Chris Brunei; Secretary — Steve 
Cox; Committee Members — Eric 
Pask, Lindsay Anderson, Gloria 
Sacks, Roy Pace, Joe Telford, 
Dennis Segaller, Derrick Knight, 
Elmer Cossey and Johnny Long- 

Chris Brunei unfortunately, for 
reasons many members may know, 
asked the Committee to accept his 
resignation. This the Committee 
did with regret, and conforming to 
rule Eric Pask who received the 
next highest number of votes, was 
asked to accept office as Vice- 
Chairman and Phil Dennis, the 
next on the list of nominees, was 
asked to complete the number of 
Committee Members. 

After the business of the meet- 
ing we had a showing of films, 
namely: Holiday, Worming of 
Metals, a cartoon, Two by Two, 
and a series of commercials made 
by TV Cartoons. 

Now for the other meetings. 
Our film show at Crown, on March 
13th, was a really full house with 
" standing room" only. The films 
shown were: Mak< your Money 
Grow, Earth is a Battlefield, and 
some Shell Advertising Filmlets. 
Lindsay Anderson was in the 

At the .-a me rendezvous on 
April 10th there was a well 
attended film show at which we 
saw Tht ri was a Door and the 
A.C.T. Films Second Fiddle— the 
latter was a break from the usual 
films shown at these " do's ", but 
it evoked a lively and interesting 
discussion. Eric Pask was our 
Chairman for this evening. 

The other meeting was the 
speeial meeting, held on April 1st 
to discuss " Social Documentary ". 
unfortunately I could no1 attend 
but i understand a Committee was 
elected to go into the " pro's and 
eons ". I hope to give greater 
details at a later date. 

May 1958 





Director of Photography HAPPY IS THE BRIDE 


Are you happy, too, Mr. Scaife? 

Why shouldn't I be? Remember, I 

was using Ilford FP3 stock. 
Do you mind giving us your reasons? 

Not a bit — though you've heard it before 

Good tone separation. 

Good contrasts. 

And FP3 is 

specially good for 

high key work. Have 

I said enough? 
What more could you say? 

Just that I like 

using Ilford FP3. 





Telephone : HOLborn 3401 



May 1958 



with automatic colour masking and silver sound track. For 

direct reduction from 35mm. negatives, or by means of 16mm. 
internegatives, for prints from 16mm. or 35mm. positives. 


for 16mm. contact prints, and for direct reduction from 35mm. 

5716 8935 

The only independent 
laboratory undertaking 
exclusively colour 

DOTS . . 

(colour mim^Jrintina 

89/91, WARDOUR ST.. LONDON. W. 1.(7 

May 1958 FILM & TV TECHNICIAN 28c 

Congratulations & Good Wishes 




on tnen 

Twenty-fifth Anniversary 


Head Office 

Tel. Gerrard 4226 


Tel. Gerrard 6461 



May 1958 



on the completion 

of twenty-five years 7 service 

to the Industry 

George Humphries & Co. Ltd. 

71-81 Whitfield Street London - W.i 

(MUSeum 5636 is lines) 

Sole U.K. agents for !///(///// ( [III R I CORP. (U.S. \.) 

May 1958 




















on its 





Phone Gerrard 5701 

L'si; FILM & TV TECHNICIAN May 1958 


H D 

H D 

□ a 

a n 

a a 

a a 

a a 

□ □ 

D □ 

g The Film Producers Guild g 

n a 

a congratulates the a 

a a 

§ A- C- T- T § 

n a 

a a 

g on their 25th anniversary g 

a n 

a □ 

□ and looks forward to □ 
a □ 

□ □ 

g many more ijears g 

a a 

□ a 
g of happij co-operation g 

□ □ 

d □ 

a □ 

n a 

n a 


q Guild House. Upper St. Martin's Lane. U/.C.2 j-j 

□ □ 

□ □ 

□ □ 

□ D 

□ □ 

□ ,,,,, □ 

a □ 


May 1958 FILM & TV TECHNICIAN 287 

to the A.C.T.T. on reaching 

its quarter century 

and sincere good wishes to 

ail members of the A.C.T. T. 


Specialists in processing 
35 & 16m. m. COLOUR and BLACK and WHITE 



May 1958 

Associated British Elstrce Studios is one of the most modern and best- 
equipped in Europe. The home of Associated British pictures and many 
international successes, the studio stands on a 28.1 acre lot; has five large 
sound stages (one over a special effects water tank); dubbing theatre; re- 
cording theatre; and includes plaster room; carpenter's shop; stills studio 
and photographic department; two mammoth water tanks, one with a sky- 
backing of 240 ft. x 70 ft., and a capacity of 1. 000.000 gallons, adjoined by a 
reserve tank with an increased capacity of 25 per cent. 


and the Short of it ! 

The best products deserve the best 
presentation: Associated British-Pathe 
long experienced in short film produc- 
tion, have now produced many hundreds 
of TV commercials for leading adver- 
tising agencies. The) otter the most 
complete TV commercials service in 
Britain, including studios; compre- 
hensive equipment : mobile units, and 
complete laboratoi ies 

Associated British-Pathe Ltd 

TV Production: 

133 Oxford Street, H I 

Pathe Laboratories experts in 35mm. 
and 1 6mm. processing, and produc- 
tion for specialised films and Tele- 
vision films, otter the most up-to-date 
facilities for negative developing : 
sound recording; blow-ups; reduction 
printing: cutting; titling; optical 
priming and Kodachrome reduction 
with masking. In evei i aspect oj short 
film production. Pathe leads the field. 

Pathe Laboratories Limited 

Laboratoi ies Di\ ision: 
103-109 W ardour Street. H .1 

Mav 1958 



5' EALING y 

5; /tiffin ;; 

Makers of 


Chiurinnn and 

Managing Direclor 


In chorgp of 



290 FILM & IV TECHNICIAN May 1958 

71 / / 

/Dirikday - Jrcclmos 

to th< 


on its 

2^1 1 1 . ' inniversary 




Chertsey 2611 





■d .is the 
hnical asset 






TECHNICOLOR LIMITED Dr. Herbert T. Kalmus, Chairman 



May 1958 


Black & White or Colour -^ 

Full Service 
One Source 


For ONE or ALL of these 
Services-Phone hunter 0408 





Published by the Proprietors, The Association of Cinematograph, Television and allied Technicians, 2 Soho 
Square, London, and Printed by Watford Printers Limited, Watford, Herts.